Bessie Mae Jackson, New York State Director of the Association for the Study of African American Life and History, turns 99 on Sunday, March 9. The lifelong educator, playwright, poet, and community advocate hosts the Smiling Through Tears talk show podcast on racial injustice and community advocacy.
While in college, she founded the NYC Day Care Workers Union Local 1707 and, later, the African American History and Culture Center in the Bronx. In 2020 at age 94, after 16 years of advocacy to create a new NYS holiday to honor those who fought to end slavery, she witnessed the enactment of the first state holiday proclaiming the Commemoration of the Abolition of Slavery in New York or Abolition Commemoration Day.
Ms. Jackson said in 2020, “Freedom was never given, it was fought for. Today marks the creation of a new holiday – Abolition Commemoration Day – to recognize the end of slavery in New York State and a start to teaching our full uncompromised history. New York was one of the largest slave-holding states in this country and we are convinced that a civilized state should do no less than spend at least one day a year in atonement for its participation in the horror, fear and trauma that sustained slavery for more than 200 years.
We are proud to have led this fight and stand with the entire state legislature to recognize the sacrifices of African Americans and other abolitionists in their fight for freedom.” A Saturday, March 8 birthday tribute in Westchester in her honor is designed to raise funds for ASALH. For information, contact Louise Dente, Cultural Caravan: 908-956-2134.
Fern Gillespie Dr. Shadidi Kinsey is a healthcare history maker. She is the first African- American to be licensed by New York State to practice acupuncture, studied acupuncture at the Harlem Institute of Acupuncture, the Institute of Traditional Chinese Medicine of New York City and became a certified doctor of acupuncture at the International Institute of Acupuncture and Traditional Medicine in Canada.
Since the 1980s, she has used acupuncture to aid clients with healthcare issues encompassing fertility, allergies, migraine headaches, arthritis, alcoholism, substance abuse and AIDS. Physicians have referred patients that are receiving chemotherapy and radiation to use acupuncture to relieve side effects of the medications. Today, many insurance companies accept acupuncture services.
In 1990, Dr. Kinsey founded the P.E.A.C.E. Health Center in Bedford Stuyvesant. She brings the healthcare service to Brooklynites from adults to children. To celebrate Women’s History Month, Our Time Press spoke to Dr. Kinsey about the benefits of acupuncture.
How does acupuncture help people who are dealing with stress? “The needles are inserted, and it releases certain chemicals that are just naturally within our body which have a very, very calming effect. Acupuncture is really is beneficial with stress. What we do is balance the body’s natural energy and where there is an imbalance of the energy to get that energy to flow evenly.
And when that occurs, it reduces the stress. Acupuncture is a scientific art of healing that goes back thousands of years. It’s very therapeutic and it’s natural. It’s the body’s own energy that’s doing the healing. We’re just directing that energy where there’s stagnation such as with migraines or stress. To remove those blockages so that the energy can flow.”
Is acupuncture also a treatment for people in detox for alcoholism and substance abuse? For years, I’ve worked in different venues where I was a supervisor with the acupuncture detoxification for alcohol and substance abuse and also for the treatment of HIV AIDS. I first learned acupuncture at the Harlem Institute of Acupuncture under the directorship of Doctor Matula Shakur.
He brought me to Lincoln Hospital with the acupuncture with the five point protocol because the ear has a point for every part of the body. The use the acupuncture for the detoxification which is very, very effective. It reduces the withdrawal symptoms and in reducing the withdrawal symptoms, it reduces cravings.
Benefits were patients were able to overcome the alcohol and substance abuse addictions and naturally that is the most important part. At Lincoln Hospital they were with the methadone and the patients said “no.” They wanted acupuncture. They closed the that part of the hospital and banned acupuncture because they couldn’t see replacing one drug with another. With the acupuncture, there’s no drugs involved.
With the healing, it’s all natural. So with these endorphins and these natural chemicals that are within our system to reduce the stress of withdrawal, to reduce the withdrawal symptoms such as insomnia, the nausea and all the different effects that withdrawal brings, the acupuncture can reduce that. And that reduces the cravings.
Have you observed that holistic health is gaining much more popularity? Definitely. I call it a complementary healthcare. Some people say alternative healthcare. I encourage my patients that I’ll work with your doctors if your doctors want to get in touch with me. To have that balance. People, I think, are taking responsibility with their well-being with their well-being.
What’s coming back is the laying on the hands. That’s as old as time. We came up with grandma and the herbs and the different methods to promote health. We are returning to our roots. You know, and that’s what people always remember, my grandmother this, my mother did that. Not just straight medications. The different medications have done wonders. But this is a part of who we are.
Why is the P.E.A.C.E Health Center unique? The Peace Health Center has been here since 1990. We are in our 35th year. We practice Kwanzaa’s Nguzo Saba. The seven principles are in my practice through struggle, service, and healing. To restore our people to their traditional greatness. That’s my Nia, my purpose. A collective vocation. We have complementary healthcare. We have a naturopathic doctor. We are going to have a massage therapist soon. We have iridology, looking in the eyes and making the diagnosis with the naturopathic doctor. We have reflexology and different complementary medicines that we incorporated. When patients are having their treatment, they’re listening to jazz. It’s a very wholesome healing.
The Grandassa Models Intergenerational Reflections
In the words of the late scholar Elombe Brath, The Grandassa Models, a group of women who “embraced” their “classical African physiognomy” – natural features, natural hair and natural skin color tones in the late 1950’s/early ‘60s, nearly a full decade before their pioneering effort became a national trend — “were destined to be internationally celebrated. The women resurrected Marcus Garvey’s often scoffed credo, Black is Beautiful, at a time when, for some, to be called “Black” in some circles was anathema.
Brath and his brother Kwame Brathwaite, who would become an award-winning world-class photographer and image, joined forces with other sensitive, young thought leaders armored with knowledge and their personal appreciation for their African roots and a love for jazz, they formed the Jazz-Art Society & Studios in 1956. It was renamed The Jazz-Art Society & Studios, AJASS, producers of art exhibitions, jazz concerts and cultural presentations.
AJASS produced a revolutionary Cultural Manifestation that would deal directly with the problem of making Black people see themselves as beautiful. Influenced by Carlos A. Cooks, Marcus Garvey’s teachings and works, AJASS organizers Elombe Brath, Kwame Brathwaite, Robert Gumbs, Frank Adu, and others launched the Grandassa Models and the theme “Black Is Beautiful.”
The Original models were Priscilla Bardonille, Black Rose, Nomsa Brath, Beatrice Cramston, Esther Davenport, Clara Lewis, Wanda Sims and Mari Toussaint. These women were the visages who launched the first Black self-love global movement. They appeared in a series of “Naturally” shows, starting with “Naturally ‘62” which – as reported – “projected racial pride.” Today, Grandassa Models are an intergenerational collective of women committed to promoting natural African beauty as the standard.
For Women’s Month, we’re reflecting on what Black Is Beautiful means in this technological age. We also pay tribute to the Grandassas who appeared in the first “Naturally” show – royals Brath, Lewis, Bardonille, Toussant, Davenport, Sims, Cramston, and our only living member of that group— Queen Black Rose.
As we extol the history, we also elevate the heiresses of that legacy who are determined to walk with pride and keep the Black is Beautiful alive. Below are our reflections on that tight but gentle embrace of our natural roots.
Brenda “Yemojaogun” Evans (Original Grandassa/1962-present) The Crown is the Home Plate: I attended the first ‘Naturally’ on January 28, 1962. Afterwards, Kwame and Elombe invited me to join the Grandassa Models, who— along with AJASS— re-energized my awareness of my worth, purpose, and God-given right to shine a light for all to see. I thank the Most Highs (HIM & HER), for the strength and the insight to endure; ability to express revelations within, and to release from personal wars in this revolutionary phase of my life, as it was and AS IT IS! I bring thanks to QUEEN BLACK ROSE. Your relentless exhibitions of Black Beauty are reflected in every step, every word, without any hints of doubt, while embellishing THE CROWN AS THE HOME PLATE FOR ALL ELSE TO EXIST. ASE’! O BELOVED. ASE’!
Amina Nilajah Carlest (Next Generation Grandassa/2023-present) I feel beautiful, connected: “Black Is Beautiful” is more than a phrase—it’s a powerful statement of self-love, heritage, and identity. As the granddaughter of the late Kwame Brathwaite and grandniece of Elombe Brath, two pioneers of AJASS and the Grandassa Models, I am deeply connected to a legacy that celebrates Black beauty in its many forms. I’ve experienced and found joy in the creativity that natural hair allows. Adorning my hair with styles that reflect my essence affirms who I am—authentically and confidently. I also admire the Grandassa Models, whose dedication to natural hair and empowerment of African descendants inspires me. In embracing my natural hair, I feel beautiful and connected to my roots, living fully as my true self.
Sikolo Brathwaite Original Grandassa (1966-present) Bold, Beautiful, Unapologetic: Meeting the members of AJASS, attending Carlos A. Cooks weekly workshops, and joining The Grandassa Models positively impacted the trajectory of my life. These bold beautiful unapologetically confident young women helped to pioneer the Black Is Beautiful Movement. Black Rose, an original Grandassa Model, opened the first “AFRIKAN BEAUTY CENTER catering to natural hair and also developed a very high-quality line of products for haircare and skincare. She is the only living Grandassa Model who participated in the very first Naturally on January 28, 1962. Her positive impact on multiple generations is evidenced by the fact that one of her loyal supporters named her youngest daughter, “Black Rose.”
Dr. Amber Ann “Nzingha” Lyons Next Generation Grandassa (2023-present) Carrier of the Legacy: Proud and honored is an understatement, when I speak about the impact of the Next Generation of Grandassa Models embracing the legacy of AJASS, birthed in 1956, and the Grandassa Models first show in 1962. We are blessed to rest upon the shoulders of our last living original Grandassa Model, Queen Black Rose. We have made great strides to protect and cultivate our rich heritage within the modern-day lifestyle; while providing an example of black pride, strength, courage and hope for our youth to become a part of the Black Is Beautiful Movement. As the daughter of AJASS and the Grandassa Models Co-Founder, the late Baba Elombe Brath and Original Grandassa Model, the late Mama Nomsa Brath, I am an intergenerational legacy-carrier.
Zena Robinson-Wouadjou Next Generation Grandassa (2023-present) They Laid the Foundation: The Black Is Beautiful mantra, spoken into my life by my father, Frank Adu (a founding AJASS member and Director of AJASS Repertory Theater), my mother Claretha Robinson, and extended family of cultural activists, has come full circle. I’m honored to join the Original and Next Generation Grandassa Models in upholding this legacy. As I reflect on the eight Grandassa who participated in the first ‘Naturally’— their grace and audacity to BE their full African selves— I appreciate all Grandassa who set the stage and live the mission. In the words of one of the original eight, Queen Black Rose (Afrikan Beauty culture-bearer), “Grandassa Models laid the foundation to project Afrikan Beauty, Pride and consciousness…Our future generations will be motivated by this awareness.”
Ajuba Grinage-Bartley Original Grandassa Model (1967-present) It was magical, and gave me confidence, dignity: Fortunately, I had the opportunity of growing up with AJASS and viewing the honor and majesty of the Grandassa Models. I attended Naturally shows as a child, which shaped me to be the person I am today. This experience was enchanting. It afforded me the leverage to love myself and my African culture, at a time when it was uncommon for our people throughout the diaspora to love themselves. It was the norm for me. We were constantly told that Black is Beautiful by Elombe. I gratefully internalized this concept. It gave me confidence and a great sense of dignity. Being part of AJASS and the Grandassa Models made me whole. Oh, but when the Grandassa Models came on stage, it was magical. Then you saw the incomparable Black Rose, who was such a beauty. She is our Queen and a historical treasure.
Fofie Aboagyewa Next Generation Grandassa (2023-present) Beauty is braided in my hair, coiled in my curls: The legacy of the black is beautiful movement resides in my strides. It resounds in my word sounds. It’s braided in my hair and curled in my coils. Black is beautiful is plucked in my crown with the teeth of a pick and smoothed with the bristles of a brush. Black is beautiful is the glimmering sun reflecting off my skin. Black is beautiful is accepting my power and looks like bestowing my children with African names, empowering my community and knowing my worth. Black is beautiful is loving myself as I was naturally made, unapologetically.
Kalimah Wouadjou Next Generation Grandassa (2023-present) Lifting to the Highest Power: Black Is Beautiful means embracing the ancestors who have given you such gorgeous skin. Black Is Beautiful means wearing your skin with pride and grace. Black Is Beautiful means lifting every Black woman to their highest power with love. What Black is Beautiful means to me is loving my skin, hair, heritage, and my community. As the granddaughter of Frank Adu, a founding member of AJASS, The Grandassa models have shown and given me the history behind the Black Is Beautiful movement. For the past two years, I have had the honor to not only gain insight on the movement but to also be a part of it. I am forever grateful. Ashe.
Eunice Townsend Original Grandassa (1967-present) Our Natural Roots are Strong: The Black Is Beautiful Movement was so powerful because it shined a light on the beauty of being Black instead of the ugly, we were so accustomed to seeing in the media. Black women felt we had to emulate the appearance of others to be attractive. Our hair, the first obstacle to obtaining the goal of beauty. Black Rose recognized early on how to showcase our natural hair, realizing that the root of our insecurity was born in slavery. The movement abolished the concept of Black inferiority while Black Rose espoused the idea that our natural roots were strong. Our hair was not to be straightened but left to be free. So, the Grandassa models were born, confident, big-hipped, and secure in our beauty.
Elanor “Ameiye” Ballard Original Grandassa (1967-present) The Name Given: Stepping into my Blackness… My first step was when I cut my straightened hair off and grew a short Afro after listening to Malcolm X’s empowering words. My second step happened after meeting Kwame Braithwaite in 1967, one Easter Sunday while at the Bronx Zoo with my two eldest daughters. My third step was a week later at his studio in Harlem. There, I met his brother Elombe. I told him my name, and he said, “Oh no, we will have to find you an African name.” Ameiye was the name given. As a Grandassa I learned about Black Rose. She was inspiring. Her name represents. B Beauty L Love A Amazing C Caring K Kindness R Resilience O Omniscience S Strong E Excellence
Ndola Brathwaite Carlest Next Generation Grandassa (2023-present) Black Beauty’s Internal Essence Drives Us: I am Ndola Brathwaite Carlest, the daughter of Kwame and Sikolo Brathwaite, a Grandassa Model (and AJASS) legacy. My parents instilled in my brother Kwame and me, principles which continue to shape who we are. Growing up with the mantra of the Black is Beautiful movement deeply influenced our relationships and professions. We embody the principles of unity, self-determination, collective work, cooperative economics, purpose, creativity, and faith— not just during Kwanzaa, but in our daily lives. Black beauty isn’t just external; it’s the internal essence that drives us to care for, support, and uplift one another. These values form the foundation of who we are, guiding our actions, shaping our communities, and inspiring us to build a future rooted in strength and solidarity. #BlackIsBeautiful
Barbara “Adzua” Solomon Original Grandassa (1962-present) When I met Black Rose, I was recently married, newly graduated from Morgan State University, and just starting to wear my hair in its natural state. During this period, wearing your hair in its natural state posed problems. It was a new style with very few acceptable variations. Black Rose, a trained barber, offered her expertise so that we looked extra special when we modeled. She had the knowledge we all needed concerning our natural hair care. A light in the room full of darkness, she cut, styled and made your form stand out above the crowd. She also had the gift of making you feel extra good about yourself. Sitting in her chair was more therapy than anything else. At the end of your session, you looked good and felt even better. She laid the groundwork for those who desired to be natural during a period of African-American cultural revolution. The Grandassa Models presented the image of natural hair to the Black community, but Black Rose was its facilitator. From her loins sprung many other hair salons that elevated natural hair and made it possible for Black women to enjoy a multitude of natural hair styles. Black Rose showed everybody how Black is Beautiful. We cannot thank her enough.
Nana Ama (Donalda) Tanks Original Grandassa (1967-present)
WE ARE THE GRANDASSAS Teachers and students, librarians, published writers, typesetter, social workers, nurses, environmentalists, herbalists, traditional African healers and Priestesses. WE ARE Hairdressers and barbers, makeup artists, dancers, fashion models and designers, radio celebrities, screen writers and documentarians, artists, patrons of the arts and music. WE ARE Entrepreneurs, Internationally celebrated humanitarians, and historians, poets and political activists. WE HONOR OUR WORTH WE ARE Creators, bearers of children and ideas, nurturers of all, supporters of family and friends. We stand on the right side of Justice! We are magic —mindful miracle workers! We define ourselves! KUJICHAGULIA! BLACK AND BEAUTIFUL! WE ARE!
Nana Baakan Okukuranpon Yirenkyiwa “Zamye” Original Grandassa (1973-present) Yeah! What an impact Queen Black Rose has had on the “Black Is Beautiful” movement! As a natural hairstylist at the legendary Jerry’s Den in Harlem, she coiffed “Afros”/ “naturals” for a new conscious generation. I honor her as an artist, teacher, entrepreneur, cultural icon, and last living member of the Original Grandassa Models since 1962. Queen Black Rose advocates for Black women—”Original Queens of Beauty”— maintaining the teachings of the Honorable Marcus Garvey and Carlos Cooks. The Grandassa Models, through their poise and innovative style, pioneered the promotion of African beauty. Gracing “Naturally” shows, magazines, and album covers, they boldly challenged fashion and beauty concepts about Black women. Grounded in the pride instilled by my family, I joined the Grandassa as a young woman. With growing political involvement via Baba Elombe, Baba Kwame, and AJASS, our presentations accentuated the global African political action. Continuing this legacy with our daughters and granddaughters is an honor and blessing. Together, we create projects that instill racial pride and inspire us as African women, and as a people. “Ev’rybody say Yeah! Yeah!”
Nzingha Gumbs Next Generation Grandassa (2023-present) From These Roots: The mission of “Black Is Beautiful” holds personal and historical meaning. A deeply-ingrained family ethos, it has shaped my identity and purpose. My parents and uncles, inspired by Marcus Garvey, were instrumental in propagating ideals of Black Excellence. Their collective advocacy work, through ANPM and AJASS, laid the foundation for global Black empowerment, celebrating our intellect, beauty, and talent. The pioneering efforts of the Grandassa Models, including my mom, Jean Egyptia Gumbs, and Queen Black Rose (our eldest living original Grandassa), brought the legacy of “Black Is Beautiful” to life. Grandassa graced fashion and theatrical shows across creative realms. Within this rich heritage, I found myself and my calling in the entertainment industry. It was Queen Black Rose who introduced my parents to each other. I’m honored to continue my family’s enduring commitment to promoting Black Pride. I embrace this legacy, contributing to the ongoing narrative of Global Black empowerment and beauty. BLACK IS BEAUTIFUL
If you are interested in learning more about upcoming Grandassa Model events, and/or joining our mailing list Email – thegrandassamodels@gmail.com and Follow Us on Instagram @theoriginalgrandassamodels
By Lyndon Taylor Protesters from several organizations, including the UNIA, People’s Operation for Progress, Operation Power, and CEMOTAP, recently staged a protest outside Madison Square Garden (MSG) to add their voices of dissent to Netflix’s animated reboot of the 1970s sitcom “Good Times,” executive produced by NBA star Stephen Curry and comedian Seth MacFarlane. The reboot has ignited significant controversy and backlash from various communities and organizations, a year after it was released.
The Committee to Eliminate Media Offensive to African People (CEMOTAP) has been at the forefront of the opposition. They have labeled the reboot a “racist cartoon,” drawing parallels to historically offensive media portrayals.
In an open letter to Netflix CEO Ted Sarandos, CEMOTAP co-chairs Dr. James McIntosh and Betty Dopson condemned the show’s depiction of Black individuals as “unintelligent, violent, simian, and hypersexual,” criticizing its use of obscenity, slurs, and negative stereotypes. They urged the public to boycott Netflix until the show is removed from the platform.
“We can’t think of anything that is more offensive than having toddlers with machine guns throwing menstrual blood in children’s faces…all those are the types of things that are in this cartoon,” noted McIntosh.
According to Dr. James McIntosh, Co-Chair of CEMOTAP, they have exhausted all avenues and decided to take to the streets where they can have an impact on the bottom line. “We’ve tried everything. We’ve written letters, we went to Netflix and now we’re attaching it to economic development,” McIntosh told Our Time Press.
The organization has also taken direct action by organizing demonstrations at Netflix’s corporate office in Manhattan and distributing leaflets to raise awareness about their concerns.
CEMOTAP’s protests extended to attending Stephen Curry’s basketball games in Los Angeles, Chicago, and now New York, aiming to hold him accountable for his involvement in the project.
The original series, which aired from 1974 to 1979, was lauded for its authentic portrayal of a Black family’s experiences in a Chicago housing project, addressing issues such as poverty, racial discrimination, and family dynamics.
The reboot, however, has been criticized for straying from these themes and perpetuating negative stereotypes.
Upon the release of the show’s trailer in March 2024, viewers expressed their dissatisfaction, leading to a significant disparity between likes and dislikes on various platforms. Critics argue that the reboot lacks the heart and authenticity of the original, with some describing it as “dated, humorless, and baffling.”
Prominent figures have also voiced their disapproval. Former New York Assemblyman Charles Barron described the show as “the most embarrassing depiction of the worst racist stereotypes you can think of,” calling on those involved, including NBA star Stephen Curry, and actor/comedian Seth MacFarlane, to be ashamed of their participation.
The controversy surrounding the “Good Times” reboot highlights the challenges of reimagining classic shows, especially when they touch upon culturally sensitive themes and the importance of preserving the original’s integrity.
By Jeffery Kazembe Batts IG: @kazbatts Two famous international cities are located on opposite sides of the equator on the east coast of the Americas. New York City is the largest city by population in the United States, and Rio de Janeiro is the second largest city in Brazil. As a New Yorker visiting Rio with my cousin, we were amazed at the similarities and differences between the two cities.
The Botafogo area, where we stayed, reminded me of my native Bed-Stuy. With Christ the Redeemer statue looking down from a distance, from my balcony I watched the sunrise with the sidewalk slowly filling with a mixture of students with backpacks and adults in mostly casual attire moving along the street stopping at small diners and grocery stores. American-based fast-food restaurants like Burger King or McDonald’s are sprinkled among the more prevalent local places to eat.
People waited for public buses that frequently passed along the busy street. During my trip We rode the city bus, a difference was that the bus driver took money directly. After purchasing your ticket, you had to go through a turnstile inside the bus to get to the seating area. Rio de Janeiro also has a subway system. We stood around and observed and no one jumped over the turnstile. Once inside the train, you could blink and think you were on the A-train.
Riders were on their phones, like a subway ride in NYC. One difference is that all stations have stores selling food, newspapers, and cultural items. Trains arrive frequently and the stations are cleaner in Rio’s subway, which is far smaller than NYC’s. In the downtown civic area, trams crisscross the street. With the trams moving at a moderate speed, people can walk right next to the tram. There are no barriers. I cannot imagine how this could work in NYC.
A major difference between the two cities is the topography. Rio de Janeiro has small mountains in the middle of the city! For comparison, it is like if you were on Eastern Parkway and got to Utica Ave and suddenly a 60-story mountain was in your way, and you had to go through a tunnel to get to Nostrand Ave. These mini mountains were located throughout the city separating and uniting communities. Nothing like that is in NYC. Larger mountains can be seen surrounding the city.
Some small mountains have favelas going up along the side. Sociologists might consider the favelas the equivalent of the hoods in NYC, but they are not like Brownsville or the South Bronx. These residences are where enslaved people made their homes after emancipation in the late 19th century. We took an ariel tram to the top of a favela and then walked down. The tram was built when Rio hosted the Olympics in 2008.
Coming down poverty and unsafe-looking homes dominated the scene. Steps and passageways abounded at every turn. It was a maze in the sky. There were also flashes of abundance with flat-screen televisions and well-kept homes. The favela we visited had an enclosed soccer field, souvenir shops, restaurants, and a statue of Michael Jackson at the site where he came to make a music video.
While walking around the city, you cannot get far without seeing a statue. The statues are of mostly white men who are part of the history of Brazil. Large and well-landscaped statues and smaller ones are on almost every other corner. The preponderance of public statues is different from NYC. Some of the smaller, more accessible statues have been defaced with graffiti. Murals, mostly of Black people, make up for the lack of Black people in the statues and are a frequent presence throughout the city.
In Rio people are comfortable outside late into the night. In NYC, even in lively locations like Bleeker St. or Times Square, the crowds tend to dwindle around 2:00 am. In Rio, after going out to socialize we saw the sun rise marking a new morning for three days in a row without realizing so much time had passed being outside. The people of Rio are OUTSIDE late, drinking, eating, listening to music, dancing, and just chilling. Some places were extremely crowded, but people were cordial and made room for you to move. Fights and arguments were almost nonexistent.
It would be unfair to compare Copacabana and other Rio beaches to Coney Island or Rockaway Beach in NYC. The layout of restaurants, vendors, and beach supplies is far superior at Copacabana Beach. Youth in a non-threatening way are hustling candy and cultural items. People routinely spend the night on the wide, clean beach. Unfortunately, unlike in NYC, we did not see any lifeguards.
Rio de Janeiro, like NYC, has a large homeless problem. Most of the homeless are Black men. They gathered in groups and did not threaten people as they passed by. They seemed to accept their situation while enjoying the pleasant weather. Noticing a line of homeless people, we were surprised to see a church preparing to share food with an elegant setup of a tablecloth-covered seating area with porcelain plates and utensils for the people to eat. It looked so good we almost went in!
Downtown Rio is like mid-town Manhattan, although Rio has a street named after Nelson Mandela and NYC does not! Traffic congestion, people rushing about, high-end stores, public transportation, and homelessness are similar. Small mountains, favelas, and easily accessible beaches are different. It is like the Twilight Zone. There are many similarities but distinct differences. I urge you to take a trip down the east coast of the two American continents to the other side of the equator and see Rio de Janeiro for yourself.
