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"content": "\u003cp>The film \u003cem>\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>\u003c/em> takes the universal questions about the meaning of life and what happens after death, and adds another layer: If given the choice, would you come back to life?\u003c/p>\n\u003cp>A deep-seated belief in reincarnation has resonated around the world throughout human existence. But having a personal choice in the matter — as opposed to the fate of the universe or the command of a higher power — speaks directly to filmmaker Lorrie Chang’s beliefs.\u003c/p>\n\u003cp>“I feel like life is a choice,” she says during a phone call. “So why would the afterlife be any different?”\u003c/p>\n\u003cfigure id=\"attachment_13983351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983351\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg\" alt=\"A Chinese-American woman with dyed red hair and a hooded sweater poses for a photo. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker and poet Lorrie Chang, raised in San Francisco’s Chinatown, says having her debut film shown at the Great Star Theater is a full-circle moment. \u003ccite>(Courtesy of Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As hefty a concept it may be for a short film, the 10-minute movie (which \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">screens Nov. 12 at the Great Star Theater\u003c/a> in San Francisco’s Chinatown) is an excerpt from a longer script Chang hopes to produce in the near future. But even in short form, she packs a lot in.\u003c/p>\n\u003cp>By focusing in on the relationship between three generations of women, Chang uses candid conversations to highlight the heartbreak of family separation that often comes with immigration — while pushing audiences to think about their own life’s purpose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chang touches on the Buddhist beliefs of \u003ca href=\"https://www.bbc.co.uk/religion/religions/buddhism/subdivisions/pureland_1.shtml\">the Pure Land\u003c/a> and reincarnation, or \u003ca href=\"https://www.britannica.com/topic/samsara\">samsāra\u003c/a>. She also explores the concept of “soul contracts,” the idea that we’re all sent to this plane of existence to help one another. Add it all up, Chang says, and it shows how truly interconnected we are as a people.\u003c/p>\n\u003cp>During an important scene in the film, Lo Ma, played by Jennifer Chia, turns to her daughter and says, “When we meet with other souls, we decide what we’ll help each other with on the School of Earth.” Holding a soul contract written on an unfurled scroll, Lo Ma continues, “Together, we learn the infinite ways of love.”\u003c/p>\n\u003cp>[aside postID='arts_13982072']With spoken dialogue in Cantonese, and English subtitles, Chang’s film also subtly provides a window into her own upbringing, from her complicated relationship with her mother to her renewed connection to San Francisco’s Chinatown community.\u003c/p>\n\u003cp>The movie, directed by painter and filmmaker \u003ca href=\"https://www.ujjayinisikha.com/\">Ujjayini Sikha,\u003c/a> stars \u003ca href=\"https://www.imdb.com/name/nm17508571/\">Natalie Nakamine\u003c/a> as Grace and Lucia Choi-Dalton (who also sits on KQED’s Board of Directors) as Chun Mei.\u003c/p>\n\u003cp>The Nov. 12 screening is part of a larger event called “Come Rest in the Middle,” a title derived from \u003cem>\u003ca href=\"https://fiveinvitations.com/\" target=\"_blank\" rel=\"noopener\">The Five Invitations: Discovering What Death Can Teach Us About Living Fully\u003c/a>\u003c/em> by Frank Ostaseski, a Buddhist teacher and founder of the Zen Hospice Project.\u003c/p>\n\u003cp>In addition to a musical performance by \u003ca href=\"https://www.instagram.com/nichampton\">Nic Hampton\u003c/a> and a bilingual (Mandarin and English) poetry recital by \u003ca href=\"https://chunyu.org/\" target=\"_blank\" rel=\"noopener\">Chun Yu\u003c/a>, the evening includes a screening of \u003ca href=\"https://www.youtube.com/watch?v=O490OURqPKM\">\u003cem>Unsung Heroes: Zabrina Deng’s Chinatown Portrait Mission\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/zabrinaxyz/\" target=\"_blank\" rel=\"noopener\">Zabrina Deng\u003c/a>, and \u003ca href=\"https://vimeo.com/1068299703\" target=\"_blank\" rel=\"noopener\">\u003cem>blood vessel/ fragmented moon\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/tamate.uta/\" target=\"_blank\" rel=\"noopener\">唄 Uta Tamate Weiss\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O490OURqPKM\u003c/p>\n\u003cp>Chang, who will also perform poetry that evening, selected each part of the event to pair with the central themes in her film.\u003c/p>\n\u003cp>“It’s a deepening,” Chang says of her approach to curating the evening of storytelling. “If I’m going to offer something to you, I want it to have a little space to breathe, and a little room to contemplate.”\u003c/p>\n\u003cfigure id=\"attachment_13983438\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg\" alt=\"A blurry movie scene shows two characters talking, one holding an unfurled scroll.\" width=\"2000\" height=\"1053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-1536x809.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film Ain’t ‘Samsāra a Bitch,’ shows two characters in a purgatory state, discussing reincarnation and the meaning of soul contracts. \u003ccite>(Courtesy Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A multitalented creative, Chang was inspired by the award-winning film \u003cem>\u003ca href=\"https://www.npr.org/2023/01/11/1147854196/everything-everywhere-michelle-yeoh\">Everything Everywhere All At Once\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After enrolling in a fiction writing class, Chang penned her first script. Her work is a product of digging through her own “treasure chest” of experiences, she says, and trying to make sense of it.\u003c/p>\n\u003cp>“A film,” she reflects, “is just this thing that’s like your constant companion for years.” After taking time to grow her relationship with her mother and plan a trip to China to learn more about her father’s roots, she’s learned that in telling her own story, she can mold a broader tale.\u003c/p>\n\u003cp>“People say your first film is just you working through your own shit,” Chang says, noting that her goal is to tell stories that are universally digestible. While her movie, filmed largely in Chinatown, comes from the perspective of a Chinese-American woman, its ideas of life, death and the afterlife are bigger than race, gender or nationality.\u003c/p>\n\u003cp>“The differences that we feel with each other,” she says, in reference to the isms that separate people in society, “I want to shrink that.”\u003c/p>\n\u003cp>Her overarching goal, she says, is to zoom out from humanity. By metaphorically looking at Earth from the moon, or even further, she wants to understand our common connections.\u003c/p>\n\u003cp>“There’s something to all of it,” she says, alluding to the true meaning of life. “What is that?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The short film ‘\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>’ premieres Wednesday, Nov. 12 at 6:30 p.m. at the Great Star Theater (636 Jackson St., San Francisco). \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film \u003cem>\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>\u003c/em> takes the universal questions about the meaning of life and what happens after death, and adds another layer: If given the choice, would you come back to life?\u003c/p>\n\u003cp>A deep-seated belief in reincarnation has resonated around the world throughout human existence. But having a personal choice in the matter — as opposed to the fate of the universe or the command of a higher power — speaks directly to filmmaker Lorrie Chang’s beliefs.\u003c/p>\n\u003cp>“I feel like life is a choice,” she says during a phone call. “So why would the afterlife be any different?”\u003c/p>\n\u003cfigure id=\"attachment_13983351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983351\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg\" alt=\"A Chinese-American woman with dyed red hair and a hooded sweater poses for a photo. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker and poet Lorrie Chang, raised in San Francisco’s Chinatown, says having her debut film shown at the Great Star Theater is a full-circle moment. \u003ccite>(Courtesy of Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As hefty a concept it may be for a short film, the 10-minute movie (which \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">screens Nov. 12 at the Great Star Theater\u003c/a> in San Francisco’s Chinatown) is an excerpt from a longer script Chang hopes to produce in the near future. But even in short form, she packs a lot in.\u003c/p>\n\u003cp>By focusing in on the relationship between three generations of women, Chang uses candid conversations to highlight the heartbreak of family separation that often comes with immigration — while pushing audiences to think about their own life’s purpose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chang touches on the Buddhist beliefs of \u003ca href=\"https://www.bbc.co.uk/religion/religions/buddhism/subdivisions/pureland_1.shtml\">the Pure Land\u003c/a> and reincarnation, or \u003ca href=\"https://www.britannica.com/topic/samsara\">samsāra\u003c/a>. She also explores the concept of “soul contracts,” the idea that we’re all sent to this plane of existence to help one another. Add it all up, Chang says, and it shows how truly interconnected we are as a people.\u003c/p>\n\u003cp>During an important scene in the film, Lo Ma, played by Jennifer Chia, turns to her daughter and says, “When we meet with other souls, we decide what we’ll help each other with on the School of Earth.” Holding a soul contract written on an unfurled scroll, Lo Ma continues, “Together, we learn the infinite ways of love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With spoken dialogue in Cantonese, and English subtitles, Chang’s film also subtly provides a window into her own upbringing, from her complicated relationship with her mother to her renewed connection to San Francisco’s Chinatown community.\u003c/p>\n\u003cp>The movie, directed by painter and filmmaker \u003ca href=\"https://www.ujjayinisikha.com/\">Ujjayini Sikha,\u003c/a> stars \u003ca href=\"https://www.imdb.com/name/nm17508571/\">Natalie Nakamine\u003c/a> as Grace and Lucia Choi-Dalton (who also sits on KQED’s Board of Directors) as Chun Mei.\u003c/p>\n\u003cp>The Nov. 12 screening is part of a larger event called “Come Rest in the Middle,” a title derived from \u003cem>\u003ca href=\"https://fiveinvitations.com/\" target=\"_blank\" rel=\"noopener\">The Five Invitations: Discovering What Death Can Teach Us About Living Fully\u003c/a>\u003c/em> by Frank Ostaseski, a Buddhist teacher and founder of the Zen Hospice Project.\u003c/p>\n\u003cp>In addition to a musical performance by \u003ca href=\"https://www.instagram.com/nichampton\">Nic Hampton\u003c/a> and a bilingual (Mandarin and English) poetry recital by \u003ca href=\"https://chunyu.org/\" target=\"_blank\" rel=\"noopener\">Chun Yu\u003c/a>, the evening includes a screening of \u003ca href=\"https://www.youtube.com/watch?v=O490OURqPKM\">\u003cem>Unsung Heroes: Zabrina Deng’s Chinatown Portrait Mission\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/zabrinaxyz/\" target=\"_blank\" rel=\"noopener\">Zabrina Deng\u003c/a>, and \u003ca href=\"https://vimeo.com/1068299703\" target=\"_blank\" rel=\"noopener\">\u003cem>blood vessel/ fragmented moon\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/tamate.uta/\" target=\"_blank\" rel=\"noopener\">唄 Uta Tamate Weiss\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O490OURqPKM'\n title='//www.youtube.com/embed/O490OURqPKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chang, who will also perform poetry that evening, selected each part of the event to pair with the central themes in her film.\u003c/p>\n\u003cp>“It’s a deepening,” Chang says of her approach to curating the evening of storytelling. “If I’m going to offer something to you, I want it to have a little space to breathe, and a little room to contemplate.”\u003c/p>\n\u003cfigure id=\"attachment_13983438\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg\" alt=\"A blurry movie scene shows two characters talking, one holding an unfurled scroll.\" width=\"2000\" height=\"1053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-1536x809.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film Ain’t ‘Samsāra a Bitch,’ shows two characters in a purgatory state, discussing reincarnation and the meaning of soul contracts. \u003ccite>(Courtesy Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A multitalented creative, Chang was inspired by the award-winning film \u003cem>\u003ca href=\"https://www.npr.org/2023/01/11/1147854196/everything-everywhere-michelle-yeoh\">Everything Everywhere All At Once\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After enrolling in a fiction writing class, Chang penned her first script. Her work is a product of digging through her own “treasure chest” of experiences, she says, and trying to make sense of it.\u003c/p>\n\u003cp>“A film,” she reflects, “is just this thing that’s like your constant companion for years.” After taking time to grow her relationship with her mother and plan a trip to China to learn more about her father’s roots, she’s learned that in telling her own story, she can mold a broader tale.\u003c/p>\n\u003cp>“People say your first film is just you working through your own shit,” Chang says, noting that her goal is to tell stories that are universally digestible. While her movie, filmed largely in Chinatown, comes from the perspective of a Chinese-American woman, its ideas of life, death and the afterlife are bigger than race, gender or nationality.\u003c/p>\n\u003cp>“The differences that we feel with each other,” she says, in reference to the isms that separate people in society, “I want to shrink that.”\u003c/p>\n\u003cp>Her overarching goal, she says, is to zoom out from humanity. By metaphorically looking at Earth from the moon, or even further, she wants to understand our common connections.\u003c/p>\n\u003cp>“There’s something to all of it,” she says, alluding to the true meaning of life. “What is that?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The short film ‘\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>’ premieres Wednesday, Nov. 12 at 6:30 p.m. at the Great Star Theater (636 Jackson St., San Francisco). \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tatwina Lee peered down from the balcony of Club Fugazi, a historic theater in San Francisco’s North Beach neighborhood. As the crowd began to pour in, Lee’s phone buzzed with texts from friends arriving at the party.\u003c/p>\n\u003cp>[aside postID='news_12050233']“This is very new for us,” Lee said, as she gestured towards the lively scene below, where drag queens, city leaders, Asian American artists and longtime Chinatown organizers were gathered. The Oct. 17 gala marked the 60th anniversary of the Chinese Culture Center of San Francisco (CCC), one of the nation’s oldest Asian American arts organizations and a longtime anchor of the Chinatown neighborhood.\u003c/p>\n\u003cp>“For these celebrations, usually [we host] a Chinese banquet in one of the few remaining [banquet hall] restaurants,” said Lee, a CCC board co-chair who has served in multiple leadership roles at the organization, including as president during the early 1990s. “But we wanted to mark this special time differently.”\u003c/p>\n\u003cfigure id=\"attachment_13982861\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drag queens mingle with Chinese community leaders and other attendees at the Chinese Culture Center’s 60th anniversary gala a Club Fugazi on Oct, 17, 2025. \u003ccite>(Cecilia Lei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of a nontraditional venue reflected the evolution of CCC, an organization that has grown over the decades to meet the shifting needs of the local Chinese community. In the 1960s and ’70s, the center’s exhibitions and educational programs introduced Chinese and Chinese American art to wider audiences. Some 60 years later, it has become a critical launchpad for some of the most boundary-pushing contemporary artists working today.\u003c/p>\n\u003cp>Despite \u003ca href=\"https://www.kqed.org/arts/13979600/san-francisco-rfp-100-dream-keeper-initiative-funding-update\">funding cuts\u003c/a> and \u003ca href=\"https://www.kqed.org/news/12021919/bay-area-japanese-americans-draw-on-wwii-trauma-resist-deportation-threats\">anti-immigrant rhetoric\u003c/a> and policies, leaders regard this time as a “new era of courage,” as CCC prepares to open its first \u003ca href=\"https://www.cccsf.us/post/former-historic-storefront-to-transform-to-new-arts-and-culture-space-in-chinatown\">street-level permanent home\u003c/a> on Chinatown’s storied Grant Avenue early next year. With a growing network of collaborators, the organization has positioned itself as one of Chinatown’s most vital engines of reinvention.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many ways, the story of CCC mirrors that of modern Chinatown: born against the odds and sustained by ingenuity and deep community care. Over the past six decades, the organization has faced economic pressures, political rifts and waves of cultural change. But CCC has emerged each time with a renewed sense of purpose and activism.\u003c/p>\n\u003cfigure id=\"attachment_13982867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-scaled.jpg\" alt=\"four Asian or Asian American women stand smiling with one of them holding a pie\" width=\"2560\" height=\"1877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-2000x1466.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-1536x1126.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-2048x1502.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chinese Culture Center Co-Chair Tatwina Lee (far right) with friends at a CCC event in the ’90s. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The DNA of persistence\u003c/h3>\n\u003cp>CCC formed in 1965, when Chinese American community leaders made an ambitious bid for cultural visibility in San Francisco — the same year that the \u003ca href=\"https://history.house.gov/Historical-Highlights/1951-2000/Immigration-and-Nationality-Act-of-1965/\">Immigration and Nationality Act of 1965\u003c/a> lifted restrictive immigration quotas, and just one year after the Civil Rights Act was passed. The mid-1960s brought a pivotal shift for Asian Americans, as both an influx of new immigrants and a growing generation of Chinese Americans brought new community concerns and demands. It was also the height of the Civil Rights era, when Black-led movements against segregation inspired parallel efforts for equity across communities of color, including Chinese and Chinese Americans.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.cccsf.us/_files/ugd/dfd1a1_77563fdbd18a49bf8aea30c1d333a420.pdf\">historical account of CCC’s founding\u003c/a>, the late Chinese historian Him Mark Lai described the period as a defining time for both San Francisco Chinatown and the organization’s founders.\u003c/p>\n\u003cp>“The increased ethnic consciousness and concern for the community became part of this development that spurred many young activists with the desire to play roles in shaping Chinatown’s destiny,” Lai wrote.\u003c/p>\n\u003cp>For generations, Chinatown’s leadership had been dominated by family and district organizations, notably the powerful Chinese Consolidated Benevolent Association, which played a key role in \u003ca href=\"https://www.kqed.org/news/12050233/how-a-chinese-laundryman-shaped-us-civil-rights-from-san-francisco\">protecting early 19th-century immigrants\u003c/a>. That longstanding power structure was challenged by a new generation of progressive community leaders, including Jun Ke Choy, or J.K. Choy, a Hawaii-born Chinese American who had established and managed a branch of the San Francisco Savings and Loans Association in Chinatown.\u003c/p>\n\u003cfigure id=\"attachment_13982862\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-scaled.jpg\" alt=\"a young woman with dark hair and a balding white man present an older Asian man with a certificate in a black and white photo\" width=\"2560\" height=\"2073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-2000x1620.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-1536x1244.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-2048x1659.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">J.K. Choy (center) is presented with a certificate of honor, public distinction and merit by Dianne Feinstein and Don Mitchell; date unknown. \u003ccite>(Courtesy of the Chinese Cultural Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choy leveraged his stature in the community to drive political action in Chinatown. In 1963, he formed the San Francisco Greater Chinatown Community Service Association Organization (SFGCCSA), which united local leaders and pooled resources to launch community projects. Its most ambitious effort was a response to an existential threat: rapid real estate development encroaching on the neighborhood.\u003c/p>\n\u003cp>“Urban renewal” had already \u003ca href=\"https://www.kqed.org/news/11961026/thousands-sf-homes-destroyed-decades-ago-rebuilt-under-new-bill\">displaced a number of low-income immigrant and working class residents\u003c/a> in San Francisco’s Western Addition, \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">Fillmore\u003c/a>, Japantown and South of Market neighborhoods. In an effort to preserve community space, SFGCCSA proposed the creation of a Chinese cultural facility on city-owned land at Kearny and Washington Streets, the former site of the Hall of Justice, across from Portsmouth Square.\u003c/p>\n\u003cp>San Francisco city leaders were initially lukewarm to the idea, but Choy was indefatigable.\u003c/p>\n\u003cp>“He was the only person from the Chinese American community and Chinatown [who] had the gumption to go down to City Hall and to City Planning and voice his concerns. He was a no-nonsense guy,” said Helen Hui, Choy’s niece, a former immigration attorney and a longtime Chinatown advocate.\u003c/p>\n\u003cp>Eventually, Choy and his associates at SFGCCSA succeeded in lobbying the Board of Supervisors to turn the property over to the San Francisco Redevelopment Agency. The organization negotiated a landmark compromise: the developer of a planned 27-story Hilton hotel on the site would also build a 20,000-square-foot facility dedicated to Chinese community cultural activities. A milestone in local cultural preservation efforts, the agreement remains the reason why CCC has been housed on the third floor of the hotel since its founding.\u003c/p>\n\u003cfigure id=\"attachment_13982863\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-scaled.jpg\" alt=\"a black and white photo with about 20 people, all founders of a Chinese cultural organization in the 1960s\" width=\"2560\" height=\"1815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-2000x1418.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-2048x1452.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The original founders of what was then known as the Chinese Culture Foundation, date unknown. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Choy] would take off early from work and go downtown and testify before the planning department so that he could wrangle a piece of the old Hall of Justice,” Hui said, reflecting on her uncle’s relentless efforts to plant CCC’s early roots. “He always spoke out against what he thought was unfair to Chinatown.”\u003c/p>\n\u003cp>Jenny Leung, CCC’s current executive director, says the DNA of persistence and political savvy that drove Choy and other advocates — who incorporated as the Chinese Culture Foundation of San Francisco in 1965 — still resonates today.\u003c/p>\n\u003cp>“Today, we feel like we have to reclaim or protect what we have, but they were really the pioneers,” Leung said. “They were creating a creative and cultural movement at the time, inspired by what the Civil Rights Movement was doing, and [insisting] that our community deserves a place to tell our stories.”\u003c/p>\n\u003ch3>‘It was inherently so radical’\u003c/h3>\n\u003cp>When CCC was founded, formal diplomatic relations between the U.S. and China did not yet exist, so the organization aimed to bridge a cultural knowledge gap, educating Americans about Chinese art, history and traditions. From the 1970s through the 1990s, as U.S.-China relations thawed, CCC linked cultural exchange with community visibility, showcasing artists like Wu Guanzhong and Weyman Lew.\u003c/p>\n\u003cp>By the late 1990s, CCC entered a period of artistic reinvention. During her tenure as executive director from 1997 to 2000, Manni Liu steered the organization beyond its early focus on preserving Chinese history and tradition, and toward contemporary art and identity.\u003c/p>\n\u003cp>“What I wanted people to experience is a contemporary sensibility, that the Chinese are also creating art that reflects the present times too. It’s important to know our past history, but also most modern ideas and struggles and issues,” Liu said. “‘Am I Chinese? Am I a Chinese American? Am I just American? Who am I in this society?’ A lot of those themes were starting to develop.”\u003c/p>\n\u003cp>Hoi Leung, CCC’s current deputy director and curator, says the center is less encumbered by those questions now. Over the years, the organization has grown more assertive and less apologetic about taking up space. “It wasn’t until contemporary art really flourished in the organization where [we could be] so confident about our position in the world, in the community, in the city,” she said. “It was inherently so radical.”\u003c/p>\n\u003cfigure id=\"attachment_13982864\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf.jpeg\" alt=\"a colorful parade through Chinatown in San Francisco, with floats\" width=\"2160\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf.jpeg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Hungry Ghost Festival, 2025. \u003ccite>(Robert Bordsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Executive Director Jenny Leung agrees the organization has hit its stride in the last 15 years. In conjunction with the Chinatown Community Development Center, CCC created an \u003ca href=\"https://www.41ross.org/residency\">artist residency program\u003c/a> that has helped activate Ross Alley, a historic alleyway in the neighborhood. \u003ca href=\"https://www.kqed.org/arts/13960990/san-francisco-chinatown-artist-registry-sfac-chinese-culture-center\">A registry\u003c/a> launched with the San Francisco Arts Commission helps connect artists to public art opportunities in Chinatown. And CCC co-hosts several large community engagement events annually, including the Hungry Ghost Festival and \u003ca href=\"https://www.kqed.org/arts/13976447/chinatown-pride-san-francisco-lgbtq-chinese-culture-center\">Chinatown Pride\u003c/a>, underscoring its allyship with other communities.[aside postID='arts_13960990']\u003c/p>\n\u003cp>The center also broadened its mission to become more inclusive of other communities, intentionally debunking the perception that Chinatown is insular. CCC’s leaders say that groundwork allowed the organization to respond with clarity and strength during the pandemic, amid anti-Asian sentiment, increased attacks and a national racial reckoning.\u003c/p>\n\u003cp>“We weren’t reactive; we were more than ready,” Hoi Leung said.\u003c/p>\n\u003cp>In recent years, CCC has also helped propel the careers of local artists, including Christine Wong Yap, a visual artist and social practitioner whose 2023 project \u003cem>\u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">How I Keep Looking Up\u003c/a>\u003c/em> brought together 16 working-class Chinese and Latinx immigrant women to create flags carried during the Chinese New Year Parade. Yap described CCC as fundamentally “artist-centered.”\u003c/p>\n\u003cp>Yap said CCC has pushed her to grow by providing resources, including linguistic and cultural competency, that would be hard to find elsewhere. She also appreciates the intentionality of CCC’s leadership, especially as the Trump administration threatens the wellbeing of immigrant communities.\u003c/p>\n\u003cp>“The fact that there’s queer women in leadership — I feel like that really shows in the arc of who they are right now,” Yap said. “Everything that’s happened in the past 10 months [with the start of the second Trump administration] has been so crazy and destabilizing … I hope that they can be the rock that a lot of people can rely upon to weather the storm over the next three years.”\u003c/p>\n\u003cfigure id=\"attachment_13982868\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-scaled.jpg\" alt=\"an art exhibition with a blue wall and sculptures\" width=\"2560\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-2000x1140.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-1536x876.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-2048x1167.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cathy Lu’s ‘Peripheral Visions’ at CCC in 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jenny Leung believes the organization can play that role, in large part because of CCC’s ethos of collaboration.\u003c/p>\n\u003cp>“In the past, there’s always a fight for resources, but I really feel like we’re moving into a more collaborative period where we’re thinking about the bigger picture,” she said. “It’s about this holistic vision: How do we make sure that our communities feel whole and have humanity and are taken care of?”\u003c/p>\n\u003cp>To that end, CCC is one of six organizations that make up the Chinatown Media & Arts Collaborative, a \u003ca href=\"https://www.cmacsanfrancisco.org/\">multidisciplinary coalition \u003c/a>— including the Angel Island Immigration Station Foundation, Chinese Historic Society of America, Center for Asian American Media, Chinatown Community Development Center, and Chinese for Affirmative Action — that aims to model solidarity and shared purpose in Chinatown.\u003c/p>\n\u003cp>Jenny Leung believes the new ground floor space for CCC on Grant Avenue will be a game-changer for the organization: It’s central in the neighborhood, not tucked away on the third floor of a hotel. Not only will it make the CCC more visible, the organization’s presence can help deepen the cultural significance of that street beyond mere “tourist destination.”\u003c/p>\n\u003cp>“I think people have a lot of preconceived notions when they come to Chinatown … [Now] we have an opportunity to reclaim it,” Leung said. “[The community] wants to be able to see young people and new energy and artists, and see something that they can feel proud of.”\u003c/p>\n\u003cp>As CCC continues to shape Chinatown, it’s easy to wonder what Choy, the determined CCC founder and gutsy uncle of Helen Hui, might think of the organization’s evolution.\u003c/p>\n\u003cp>“It took someone like J.K. Choy to go down to City Hall and yell at them,” Hui said with a laugh. “It’s a hard tradition to live up to. … But it’s been 60 years of joy and fun … I think Uncle J.K. would have approved.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Chinese Culture Center of San Francisco continues its 60th anniversary festival with a week of activities Oct. 25–Nov. 1 at the New CCC Gallery (667 Grant Ave., San Francisco). For tickets and more information visit \u003ca href=\"http://www.cccsf.us/60-af\">www.cccsf.us/60-af\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This is very new for us,” Lee said, as she gestured towards the lively scene below, where drag queens, city leaders, Asian American artists and longtime Chinatown organizers were gathered. The Oct. 17 gala marked the 60th anniversary of the Chinese Culture Center of San Francisco (CCC), one of the nation’s oldest Asian American arts organizations and a longtime anchor of the Chinatown neighborhood.\u003c/p>\n\u003cp>“For these celebrations, usually [we host] a Chinese banquet in one of the few remaining [banquet hall] restaurants,” said Lee, a CCC board co-chair who has served in multiple leadership roles at the organization, including as president during the early 1990s. “But we wanted to mark this special time differently.”\u003c/p>\n\u003cfigure id=\"attachment_13982861\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IMG_1215-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drag queens mingle with Chinese community leaders and other attendees at the Chinese Culture Center’s 60th anniversary gala a Club Fugazi on Oct, 17, 2025. \u003ccite>(Cecilia Lei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of a nontraditional venue reflected the evolution of CCC, an organization that has grown over the decades to meet the shifting needs of the local Chinese community. In the 1960s and ’70s, the center’s exhibitions and educational programs introduced Chinese and Chinese American art to wider audiences. Some 60 years later, it has become a critical launchpad for some of the most boundary-pushing contemporary artists working today.\u003c/p>\n\u003cp>Despite \u003ca href=\"https://www.kqed.org/arts/13979600/san-francisco-rfp-100-dream-keeper-initiative-funding-update\">funding cuts\u003c/a> and \u003ca href=\"https://www.kqed.org/news/12021919/bay-area-japanese-americans-draw-on-wwii-trauma-resist-deportation-threats\">anti-immigrant rhetoric\u003c/a> and policies, leaders regard this time as a “new era of courage,” as CCC prepares to open its first \u003ca href=\"https://www.cccsf.us/post/former-historic-storefront-to-transform-to-new-arts-and-culture-space-in-chinatown\">street-level permanent home\u003c/a> on Chinatown’s storied Grant Avenue early next year. With a growing network of collaborators, the organization has positioned itself as one of Chinatown’s most vital engines of reinvention.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many ways, the story of CCC mirrors that of modern Chinatown: born against the odds and sustained by ingenuity and deep community care. Over the past six decades, the organization has faced economic pressures, political rifts and waves of cultural change. But CCC has emerged each time with a renewed sense of purpose and activism.\u003c/p>\n\u003cfigure id=\"attachment_13982867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-scaled.jpg\" alt=\"four Asian or Asian American women stand smiling with one of them holding a pie\" width=\"2560\" height=\"1877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-2000x1466.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-1536x1126.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/1_33_Tatwina-Lee-2048x1502.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chinese Culture Center Co-Chair Tatwina Lee (far right) with friends at a CCC event in the ’90s. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The DNA of persistence\u003c/h3>\n\u003cp>CCC formed in 1965, when Chinese American community leaders made an ambitious bid for cultural visibility in San Francisco — the same year that the \u003ca href=\"https://history.house.gov/Historical-Highlights/1951-2000/Immigration-and-Nationality-Act-of-1965/\">Immigration and Nationality Act of 1965\u003c/a> lifted restrictive immigration quotas, and just one year after the Civil Rights Act was passed. The mid-1960s brought a pivotal shift for Asian Americans, as both an influx of new immigrants and a growing generation of Chinese Americans brought new community concerns and demands. It was also the height of the Civil Rights era, when Black-led movements against segregation inspired parallel efforts for equity across communities of color, including Chinese and Chinese Americans.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.cccsf.us/_files/ugd/dfd1a1_77563fdbd18a49bf8aea30c1d333a420.pdf\">historical account of CCC’s founding\u003c/a>, the late Chinese historian Him Mark Lai described the period as a defining time for both San Francisco Chinatown and the organization’s founders.\u003c/p>\n\u003cp>“The increased ethnic consciousness and concern for the community became part of this development that spurred many young activists with the desire to play roles in shaping Chinatown’s destiny,” Lai wrote.\u003c/p>\n\u003cp>For generations, Chinatown’s leadership had been dominated by family and district organizations, notably the powerful Chinese Consolidated Benevolent Association, which played a key role in \u003ca href=\"https://www.kqed.org/news/12050233/how-a-chinese-laundryman-shaped-us-civil-rights-from-san-francisco\">protecting early 19th-century immigrants\u003c/a>. That longstanding power structure was challenged by a new generation of progressive community leaders, including Jun Ke Choy, or J.K. Choy, a Hawaii-born Chinese American who had established and managed a branch of the San Francisco Savings and Loans Association in Chinatown.\u003c/p>\n\u003cfigure id=\"attachment_13982862\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-scaled.jpg\" alt=\"a young woman with dark hair and a balding white man present an older Asian man with a certificate in a black and white photo\" width=\"2560\" height=\"2073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-2000x1620.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-1536x1244.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_Diane-2048x1659.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">J.K. Choy (center) is presented with a certificate of honor, public distinction and merit by Dianne Feinstein and Don Mitchell; date unknown. \u003ccite>(Courtesy of the Chinese Cultural Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choy leveraged his stature in the community to drive political action in Chinatown. In 1963, he formed the San Francisco Greater Chinatown Community Service Association Organization (SFGCCSA), which united local leaders and pooled resources to launch community projects. Its most ambitious effort was a response to an existential threat: rapid real estate development encroaching on the neighborhood.\u003c/p>\n\u003cp>“Urban renewal” had already \u003ca href=\"https://www.kqed.org/news/11961026/thousands-sf-homes-destroyed-decades-ago-rebuilt-under-new-bill\">displaced a number of low-income immigrant and working class residents\u003c/a> in San Francisco’s Western Addition, \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">Fillmore\u003c/a>, Japantown and South of Market neighborhoods. In an effort to preserve community space, SFGCCSA proposed the creation of a Chinese cultural facility on city-owned land at Kearny and Washington Streets, the former site of the Hall of Justice, across from Portsmouth Square.\u003c/p>\n\u003cp>San Francisco city leaders were initially lukewarm to the idea, but Choy was indefatigable.\u003c/p>\n\u003cp>“He was the only person from the Chinese American community and Chinatown [who] had the gumption to go down to City Hall and to City Planning and voice his concerns. He was a no-nonsense guy,” said Helen Hui, Choy’s niece, a former immigration attorney and a longtime Chinatown advocate.\u003c/p>\n\u003cp>Eventually, Choy and his associates at SFGCCSA succeeded in lobbying the Board of Supervisors to turn the property over to the San Francisco Redevelopment Agency. The organization negotiated a landmark compromise: the developer of a planned 27-story Hilton hotel on the site would also build a 20,000-square-foot facility dedicated to Chinese community cultural activities. A milestone in local cultural preservation efforts, the agreement remains the reason why CCC has been housed on the third floor of the hotel since its founding.\u003c/p>\n\u003cfigure id=\"attachment_13982863\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-scaled.jpg\" alt=\"a black and white photo with about 20 people, all founders of a Chinese cultural organization in the 1960s\" width=\"2560\" height=\"1815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-2000x1418.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/JKChoy_FoundersoftheChineseCultureFoundation-2048x1452.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The original founders of what was then known as the Chinese Culture Foundation, date unknown. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Choy] would take off early from work and go downtown and testify before the planning department so that he could wrangle a piece of the old Hall of Justice,” Hui said, reflecting on her uncle’s relentless efforts to plant CCC’s early roots. “He always spoke out against what he thought was unfair to Chinatown.”\u003c/p>\n\u003cp>Jenny Leung, CCC’s current executive director, says the DNA of persistence and political savvy that drove Choy and other advocates — who incorporated as the Chinese Culture Foundation of San Francisco in 1965 — still resonates today.\u003c/p>\n\u003cp>“Today, we feel like we have to reclaim or protect what we have, but they were really the pioneers,” Leung said. “They were creating a creative and cultural movement at the time, inspired by what the Civil Rights Movement was doing, and [insisting] that our community deserves a place to tell our stories.”\u003c/p>\n\u003ch3>‘It was inherently so radical’\u003c/h3>\n\u003cp>When CCC was founded, formal diplomatic relations between the U.S. and China did not yet exist, so the organization aimed to bridge a cultural knowledge gap, educating Americans about Chinese art, history and traditions. From the 1970s through the 1990s, as U.S.-China relations thawed, CCC linked cultural exchange with community visibility, showcasing artists like Wu Guanzhong and Weyman Lew.\u003c/p>\n\u003cp>By the late 1990s, CCC entered a period of artistic reinvention. During her tenure as executive director from 1997 to 2000, Manni Liu steered the organization beyond its early focus on preserving Chinese history and tradition, and toward contemporary art and identity.\u003c/p>\n\u003cp>“What I wanted people to experience is a contemporary sensibility, that the Chinese are also creating art that reflects the present times too. It’s important to know our past history, but also most modern ideas and struggles and issues,” Liu said. “‘Am I Chinese? Am I a Chinese American? Am I just American? Who am I in this society?’ A lot of those themes were starting to develop.”\u003c/p>\n\u003cp>Hoi Leung, CCC’s current deputy director and curator, says the center is less encumbered by those questions now. Over the years, the organization has grown more assertive and less apologetic about taking up space. “It wasn’t until contemporary art really flourished in the organization where [we could be] so confident about our position in the world, in the community, in the city,” she said. “It was inherently so radical.”\u003c/p>\n\u003cfigure id=\"attachment_13982864\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf.jpeg\" alt=\"a colorful parade through Chinatown in San Francisco, with floats\" width=\"2160\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf.jpeg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10_Hungry-Ghost-Festival-2025-Photo_-Robert-Bordsdorf-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Hungry Ghost Festival, 2025. \u003ccite>(Robert Bordsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Executive Director Jenny Leung agrees the organization has hit its stride in the last 15 years. In conjunction with the Chinatown Community Development Center, CCC created an \u003ca href=\"https://www.41ross.org/residency\">artist residency program\u003c/a> that has helped activate Ross Alley, a historic alleyway in the neighborhood. \u003ca href=\"https://www.kqed.org/arts/13960990/san-francisco-chinatown-artist-registry-sfac-chinese-culture-center\">A registry\u003c/a> launched with the San Francisco Arts Commission helps connect artists to public art opportunities in Chinatown. And CCC co-hosts several large community engagement events annually, including the Hungry Ghost Festival and \u003ca href=\"https://www.kqed.org/arts/13976447/chinatown-pride-san-francisco-lgbtq-chinese-culture-center\">Chinatown Pride\u003c/a>, underscoring its allyship with other communities.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The center also broadened its mission to become more inclusive of other communities, intentionally debunking the perception that Chinatown is insular. CCC’s leaders say that groundwork allowed the organization to respond with clarity and strength during the pandemic, amid anti-Asian sentiment, increased attacks and a national racial reckoning.\u003c/p>\n\u003cp>“We weren’t reactive; we were more than ready,” Hoi Leung said.\u003c/p>\n\u003cp>In recent years, CCC has also helped propel the careers of local artists, including Christine Wong Yap, a visual artist and social practitioner whose 2023 project \u003cem>\u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">How I Keep Looking Up\u003c/a>\u003c/em> brought together 16 working-class Chinese and Latinx immigrant women to create flags carried during the Chinese New Year Parade. Yap described CCC as fundamentally “artist-centered.”\u003c/p>\n\u003cp>Yap said CCC has pushed her to grow by providing resources, including linguistic and cultural competency, that would be hard to find elsewhere. She also appreciates the intentionality of CCC’s leadership, especially as the Trump administration threatens the wellbeing of immigrant communities.\u003c/p>\n\u003cp>“The fact that there’s queer women in leadership — I feel like that really shows in the arc of who they are right now,” Yap said. “Everything that’s happened in the past 10 months [with the start of the second Trump administration] has been so crazy and destabilizing … I hope that they can be the rock that a lot of people can rely upon to weather the storm over the next three years.”\u003c/p>\n\u003cfigure id=\"attachment_13982868\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-scaled.jpg\" alt=\"an art exhibition with a blue wall and sculptures\" width=\"2560\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-2000x1140.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-1536x876.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6_2022_Peripheral-Visions-2048x1167.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cathy Lu’s ‘Peripheral Visions’ at CCC in 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jenny Leung believes the organization can play that role, in large part because of CCC’s ethos of collaboration.\u003c/p>\n\u003cp>“In the past, there’s always a fight for resources, but I really feel like we’re moving into a more collaborative period where we’re thinking about the bigger picture,” she said. “It’s about this holistic vision: How do we make sure that our communities feel whole and have humanity and are taken care of?”\u003c/p>\n\u003cp>To that end, CCC is one of six organizations that make up the Chinatown Media & Arts Collaborative, a \u003ca href=\"https://www.cmacsanfrancisco.org/\">multidisciplinary coalition \u003c/a>— including the Angel Island Immigration Station Foundation, Chinese Historic Society of America, Center for Asian American Media, Chinatown Community Development Center, and Chinese for Affirmative Action — that aims to model solidarity and shared purpose in Chinatown.\u003c/p>\n\u003cp>Jenny Leung believes the new ground floor space for CCC on Grant Avenue will be a game-changer for the organization: It’s central in the neighborhood, not tucked away on the third floor of a hotel. Not only will it make the CCC more visible, the organization’s presence can help deepen the cultural significance of that street beyond mere “tourist destination.”\u003c/p>\n\u003cp>“I think people have a lot of preconceived notions when they come to Chinatown … [Now] we have an opportunity to reclaim it,” Leung said. “[The community] wants to be able to see young people and new energy and artists, and see something that they can feel proud of.”\u003c/p>\n\u003cp>As CCC continues to shape Chinatown, it’s easy to wonder what Choy, the determined CCC founder and gutsy uncle of Helen Hui, might think of the organization’s evolution.\u003c/p>\n\u003cp>“It took someone like J.K. Choy to go down to City Hall and yell at them,” Hui said with a laugh. “It’s a hard tradition to live up to. … But it’s been 60 years of joy and fun … I think Uncle J.K. would have approved.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Chinese Culture Center of San Francisco continues its 60th anniversary festival with a week of activities Oct. 25–Nov. 1 at the New CCC Gallery (667 Grant Ave., San Francisco). For tickets and more information visit \u003ca href=\"http://www.cccsf.us/60-af\">www.cccsf.us/60-af\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hing-lung-new-chinese-barbecue-roast-duck-tenderloin-quack-house-chinatown",
"title": "A Quintessential SF Chinatown Barbecue Shop Moves to the Tenderloin",
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"headTitle": "A Quintessential SF Chinatown Barbecue Shop Moves to the Tenderloin | KQED",
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"content": "\u003cp>For more than four decades, Hing Lung Company was one of the crown jewels of San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a>. The cramped, slightly dingy, old-school Cantonese butcher shop consistently cranked out some of the juiciest roast duck and crispiest-skinned siu yuk (roast pork belly) in town. Because the shop didn’t have any seating to speak of, popping open a takeout carton of its luscious, wonderfully fatty roast duck in your parked car, or huddled on the sidewalk, was one of those quintessential San Francisco dining experiences.\u003c/p>\n\u003cp>It was the end of an era, then, when Hing Lung \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/hing-lung-chinatown-moving-19387517.php\">shuttered its Stockton Street storefront\u003c/a> last April, citing long, drawn-out rent negotiations with the landlord that fell through in the end.\u003c/p>\n\u003cp>The closure was especially bittersweet as it came right when brothers Eric and Simon Cheung were poised to bring the legacy business — which they \u003ca href=\"https://www.sfchronicle.com/food/article/Brothers-reinvent-their-father-s-meat-shop-in-12375005.php\">took over from their father, Wing, a decade ago\u003c/a> — to a new level of mainstream success. That same month, the Cheung brothers opened Go Duck Yourself, a swanky sit-down Chinese barbecue restaurant in Bernal Heights, to \u003ca href=\"https://www.kqed.org/arts/13968986/best-dishes-bay-area-2024\">rave\u003c/a> \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/go-duck-yourself-chinatown-19797728.php\">reviews\u003c/a>. And if all goes according to plan, the newest addition to the brothers’ roast meats empire will open in the Tenderloin in the next couple of weeks: a casual deli-style barbecue counter called Quack House.\u003c/p>\n\u003cfigure id=\"attachment_13968998\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg\" alt=\"A plate of Cantonese roast duck.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Go Duck Yourself’s signature Cantonese roast duck. At Quack House, the duck will also be available as a to-go rice plate. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like the old Hing Lung, Quack House won’t have any dine-in seating and will focus exclusively on quick-service to-go items — barbecue rice plates, whole ducks and chickens, and other Cantonese-style roast meats and charcuterie sold by the pound.\u003c/p>\n\u003cp>Patricia Tien — Eric’s wife and a spokesperson for the business — acknowledges that it was sad to leave Chinatown behind. The Cheung brothers’ father passed away three years ago, and the Stockton Street storefront was really his legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We didn’t abandon you,” she says, addressing Hing Lung’s longtime customers directly. “We fought really hard to make Chinatown work.”\u003c/p>\n\u003cp>In the end, Tien says, the building was just in too poor physical condition to justify the rent the landlords were demanding. “Every time it rained outside, it would rain in our kitchen. It would drip down into the oil pot, and you would get burned,” she recalls. “We worked like that for five or six years.”\u003c/p>\n\u003cfigure id=\"attachment_13982243\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg\" alt=\"A plate of crispy roast pork belly, cut into slics and packed in a to-go container.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A siu yuk, or crispy-skinned pork belly, rice plate packed for takeout. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, though, Quack House will mark a return to those old Hing Lung roots. The new brick-lined Tenderloin location — former home of the upscale \u003ca href=\"https://www.instagram.com/p/BqlMRaVH95d/?hl=en\">Meraki Market\u003c/a> — will be more modern-looking than the Stockton Street butcher shop and will rely on tablet stations instead of having customers line up at the counter to order deli-style. But customers who complained that you couldn’t grab a quick, affordable meal for one person at the sit-down restaurant in Bernal Heights will be heartened by the return of those rice plates, which will be priced at $18–$20 for rice, greens and a quarter pound of meat.\u003c/p>\n\u003cp>[aside postID='arts_13976695,arts_13981793,arts_13968986']Home cooks will also be able to buy a variety of Chinese cured sausages, Chinese bacon and pressed salted duck, just like they could in the old Hing Lung days. And there will be some more modern twists as well, including a pork jerky sandwich the chefs are working on.\u003c/p>\n\u003cp>The more central Tenderloin location will also allow Quack House to offer delivery service further into the Richmond and Sunset districts, where a lot of Hing Lung’s customers live. And of course it also won’t be too far away from Chinatown either.\u003c/p>\n\u003cp>Tien says that many of Hing Lung’s old customers have already trekked out to Bernal Heights to visit Go Duck Yourself at least once or twice. “When they come, we get two different reactions. One is that the prices are really high compared to what we had in Chinatown,” Tien says. “But we also have another reaction, which is, ‘Good for you guys.’ This kind of food \u003ci>should\u003c/i> be praised more, and you should really promote this to the Western world.”\u003c/p>\n\u003cp>Tien says most of the old Chinatown customers wind up feeling happy with their Go Duck Yourself experience — happy, she says, that the restaurant didn’t “white down the food.”\u003c/p>\n\u003cfigure id=\"attachment_13982244\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg\" alt=\"Two chefs work in a busy Chinese restaurant kitchen.\" width=\"2000\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-1536x976.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Cheung brothers at work in the kitchen at their Bernal Heights restaurant. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the Cheung brothers are retiring the Hing Lung name — in part to mark a new beginning, and also because there are so many other Chinese businesses called “Hing Lung” (meaning “prosperous”) in the Bay Area. But the new restaurant will be an homage to the original Hing Lung in many ways, including the (newly restored) original signage and a display of old photos.\u003c/p>\n\u003cp>The Cheungs also haven’t ruled out the possibility of opening a new shop in Chinatown at some point in the future. If they do? They might just have to roll out the Hing Lung name once again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Quack House is located at 927 Post St. in San Francisco. The owners hope to open sometime in October 2025. \u003c/i>\u003c/p>\n\n",
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"title": "Hing Lung Owners Open New Chinese BBQ Shop in the Tenderloin | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than four decades, Hing Lung Company was one of the crown jewels of San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a>. The cramped, slightly dingy, old-school Cantonese butcher shop consistently cranked out some of the juiciest roast duck and crispiest-skinned siu yuk (roast pork belly) in town. Because the shop didn’t have any seating to speak of, popping open a takeout carton of its luscious, wonderfully fatty roast duck in your parked car, or huddled on the sidewalk, was one of those quintessential San Francisco dining experiences.\u003c/p>\n\u003cp>It was the end of an era, then, when Hing Lung \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/hing-lung-chinatown-moving-19387517.php\">shuttered its Stockton Street storefront\u003c/a> last April, citing long, drawn-out rent negotiations with the landlord that fell through in the end.\u003c/p>\n\u003cp>The closure was especially bittersweet as it came right when brothers Eric and Simon Cheung were poised to bring the legacy business — which they \u003ca href=\"https://www.sfchronicle.com/food/article/Brothers-reinvent-their-father-s-meat-shop-in-12375005.php\">took over from their father, Wing, a decade ago\u003c/a> — to a new level of mainstream success. That same month, the Cheung brothers opened Go Duck Yourself, a swanky sit-down Chinese barbecue restaurant in Bernal Heights, to \u003ca href=\"https://www.kqed.org/arts/13968986/best-dishes-bay-area-2024\">rave\u003c/a> \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/go-duck-yourself-chinatown-19797728.php\">reviews\u003c/a>. And if all goes according to plan, the newest addition to the brothers’ roast meats empire will open in the Tenderloin in the next couple of weeks: a casual deli-style barbecue counter called Quack House.\u003c/p>\n\u003cfigure id=\"attachment_13968998\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg\" alt=\"A plate of Cantonese roast duck.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Go Duck Yourself’s signature Cantonese roast duck. At Quack House, the duck will also be available as a to-go rice plate. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like the old Hing Lung, Quack House won’t have any dine-in seating and will focus exclusively on quick-service to-go items — barbecue rice plates, whole ducks and chickens, and other Cantonese-style roast meats and charcuterie sold by the pound.\u003c/p>\n\u003cp>Patricia Tien — Eric’s wife and a spokesperson for the business — acknowledges that it was sad to leave Chinatown behind. The Cheung brothers’ father passed away three years ago, and the Stockton Street storefront was really his legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We didn’t abandon you,” she says, addressing Hing Lung’s longtime customers directly. “We fought really hard to make Chinatown work.”\u003c/p>\n\u003cp>In the end, Tien says, the building was just in too poor physical condition to justify the rent the landlords were demanding. “Every time it rained outside, it would rain in our kitchen. It would drip down into the oil pot, and you would get burned,” she recalls. “We worked like that for five or six years.”\u003c/p>\n\u003cfigure id=\"attachment_13982243\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg\" alt=\"A plate of crispy roast pork belly, cut into slics and packed in a to-go container.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A siu yuk, or crispy-skinned pork belly, rice plate packed for takeout. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, though, Quack House will mark a return to those old Hing Lung roots. The new brick-lined Tenderloin location — former home of the upscale \u003ca href=\"https://www.instagram.com/p/BqlMRaVH95d/?hl=en\">Meraki Market\u003c/a> — will be more modern-looking than the Stockton Street butcher shop and will rely on tablet stations instead of having customers line up at the counter to order deli-style. But customers who complained that you couldn’t grab a quick, affordable meal for one person at the sit-down restaurant in Bernal Heights will be heartened by the return of those rice plates, which will be priced at $18–$20 for rice, greens and a quarter pound of meat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Home cooks will also be able to buy a variety of Chinese cured sausages, Chinese bacon and pressed salted duck, just like they could in the old Hing Lung days. And there will be some more modern twists as well, including a pork jerky sandwich the chefs are working on.\u003c/p>\n\u003cp>The more central Tenderloin location will also allow Quack House to offer delivery service further into the Richmond and Sunset districts, where a lot of Hing Lung’s customers live. And of course it also won’t be too far away from Chinatown either.\u003c/p>\n\u003cp>Tien says that many of Hing Lung’s old customers have already trekked out to Bernal Heights to visit Go Duck Yourself at least once or twice. “When they come, we get two different reactions. One is that the prices are really high compared to what we had in Chinatown,” Tien says. “But we also have another reaction, which is, ‘Good for you guys.’ This kind of food \u003ci>should\u003c/i> be praised more, and you should really promote this to the Western world.”\u003c/p>\n\u003cp>Tien says most of the old Chinatown customers wind up feeling happy with their Go Duck Yourself experience — happy, she says, that the restaurant didn’t “white down the food.”\u003c/p>\n\u003cfigure id=\"attachment_13982244\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg\" alt=\"Two chefs work in a busy Chinese restaurant kitchen.\" width=\"2000\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-1536x976.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Cheung brothers at work in the kitchen at their Bernal Heights restaurant. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the Cheung brothers are retiring the Hing Lung name — in part to mark a new beginning, and also because there are so many other Chinese businesses called “Hing Lung” (meaning “prosperous”) in the Bay Area. But the new restaurant will be an homage to the original Hing Lung in many ways, including the (newly restored) original signage and a display of old photos.\u003c/p>\n\u003cp>The Cheungs also haven’t ruled out the possibility of opening a new shop in Chinatown at some point in the future. If they do? They might just have to roll out the Hing Lung name once again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Quack House is located at 927 Post St. in San Francisco. The owners hope to open sometime in October 2025. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-chinatown-night-market-2025-food-basketball-tournament-new-gold-medal",
"title": "This Year’s Oakland Chinatown Night Market Will Be Even Bigger",
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"headTitle": "This Year’s Oakland Chinatown Night Market Will Be Even Bigger | KQED",
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"content": "\u003cp>Before last year’s inaugural Oakland Chinatown Night Market, community leaders had long dreamed of hosting a big, rollicking night market event — the sort of outdoor bash you’ll find in cities across Asia. Oakland Chinatown Improvement Council (OCIC) Executive Director Tony Trinh says the hardest part was getting the \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a> shopkeepers and restaurant owners themselves to believe such a thing was possible.\u003c/p>\n\u003cp>“A lot of the merchants were very doubtful that we could pull off an event like that. Historically, Chinatown is a ghost town by like four o’clock,” Trinh says. When \u003ca href=\"https://www.kqed.org/arts/13892437/oaklanders-combat-chinatown-attacks-with-volunteering-mutual-aid\">fears of anti-Asian violence surged\u003c/a> during the COVID era, he explains, “Everybody was just too afraid to be out here.” As a result, only a couple of Chinatown restaurants set up booths at last year’s market. Most of the food vendors wound up coming from outside the neighborhood.\u003c/p>\n\u003cp>In that sense, the inaugural event was a proof of concept — a test to see if Oakland Chinatown actually \u003ci>could \u003c/i>host a bustling night market. And it proved to be even more successful than Trinh and his team had dared to hope: 14,000 people poured into the streets of Chinatown on a Saturday night. Food vendors were completely sold out by 8 p.m. Even the restaurants that chose not to actively participate still benefited, reporting a 200% increase in revenue that night, Trinh says.\u003c/p>\n\u003cfigure id=\"attachment_13981226\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg\" alt=\"A crowd of people eating at outdoors tables in Chinatown at nighttime.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">About 14,000 people came to the 2024 night market, according to the Oakland Chinatown Improvement Council. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with bolstered confidence, then, that OCIC is running the event back this year. The \u003ca href=\"https://www.ocic-ca.org/2025-night-market\">second annual Oakland Chinatown Night Market\u003c/a> will take place this Saturday, Sept. 13, 5–10 p.m., bringing the neighborhood to life with a mix of street food, antique trinkets, sports and live music — this time with much more robust participation from businesses within Chinatown.\u003c/p>\n\u003cp>“Now the food vendors believe in us,” Trinh says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of what that means is that many more restaurants will set up booths selling street food in front of their shops, including neighborhood staples like Alice Bakery and Shooting Star Cafe. Though one of last year’s core vendors, \u003ca href=\"https://www.kqed.org/arts/13956218/late-night-taiwanese-beef-noodle-soup-stinky-tofu-oakland-chinatown\">Lounge Chinatown\u003c/a>, has since closed, its Jack London sister restaurant, \u003ca href=\"https://www.kqed.org/arts/13918993/dragon-gate-oakland-taiwanese-restaurant-reopening-karaoke\">Dragon Gate\u003c/a>, will also have a booth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13963258,arts_13974383']\u003c/span>This year’s featured food theme will be a “Taste of Chinatown,” highlighting the kind of classic dishes that are most emblematic of the neighborhood: chicken wings and spring rolls from New Gold Medal, the \u003ca href=\"https://www.kqed.org/arts/13974383/oakland-chinatown-new-gold-medal-late-night\">legendary late-night spot\u003c/a>, and a roast duck rice plate from newcomer Hay Yue. Both of those plates will be available at OCIC’s own booth at the market.\u003c/p>\n\u003cp>All told, there will be more than 20 food vendors. The layout of the event will be inspired by Hong Kong’s traditional night markets, with a mix of food and retail, including Chinese antique vendors from the Laney College Flea Market.\u003c/p>\n\u003cfigure id=\"attachment_13981229\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg\" alt=\"A rapper viewed from behind as he performs in front of a large crowd in the streets of Oakland.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Seiji Oda performing at the 2024 Oakland Chinatown Night Market. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s night market will also have a car show, curated by Castro Valley’s \u003ca href=\"https://www.instagram.com/nakayamamotorsports/?hl=en\">Nakayama Motorsports\u003c/a>. And it will bring back the most popular elements from last year’s event, including a performance stage featuring live music and DJs. This year’s featured artists will include Oakland’s own “\u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">minimalist hyphy\u003c/a>” rapper Seiji Oda, up-and-coming R&B singer \u003ca href=\"https://www.kqed.org/arts/13894289/pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more\">Kiyomi\u003c/a> and a traditional Cantonese cover band Midnight.\u003c/p>\n\u003cp>Also returning from last year: a \u003ca href=\"https://www.instagram.com/p/DOPo8JUEZtv/?hl=en&img_index=1\">pan-Asian basketball tournament\u003c/a> at the Lincoln Square Park rec center starting at 1:30 p.m., with local squads representing China, Japan, Laos/Cambodia and the Philippines. Led by two popular streetball influencers, the Filipino squad took last year’s cup. But Trinh says the other teams have powered up with new recruits this year — they’ll be out for revenge.\u003c/p>\n\u003cfigure id=\"attachment_13981232\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg\" alt=\"On an outdoor basketball court, a Filipino American player scoops the ball toward the basket as two opponents look on.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Team Philippines (in the blue and gold shorts) beat out Team China at the 2024 ‘Asia Cup’ tournament. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trinh says that he’s been to other night markets around Oakland, but this one will always feel “just a little more special.”\u003c/p>\n\u003cp>“It really showed a sense of community,” he says. “It was a lot of people coming out and just supporting because they know that Chinatown has dealt with so much.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.ocic-ca.org/2025-night-market\">\u003ci>Oakland Chinatown Night Market \u003c/i>\u003c/a>\u003ci>will take place on Saturday, Sept. 13, 5–10 p.m. on 8th Street in Oakland, between Webster and Broadway.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before last year’s inaugural Oakland Chinatown Night Market, community leaders had long dreamed of hosting a big, rollicking night market event — the sort of outdoor bash you’ll find in cities across Asia. Oakland Chinatown Improvement Council (OCIC) Executive Director Tony Trinh says the hardest part was getting the \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a> shopkeepers and restaurant owners themselves to believe such a thing was possible.\u003c/p>\n\u003cp>“A lot of the merchants were very doubtful that we could pull off an event like that. Historically, Chinatown is a ghost town by like four o’clock,” Trinh says. When \u003ca href=\"https://www.kqed.org/arts/13892437/oaklanders-combat-chinatown-attacks-with-volunteering-mutual-aid\">fears of anti-Asian violence surged\u003c/a> during the COVID era, he explains, “Everybody was just too afraid to be out here.” As a result, only a couple of Chinatown restaurants set up booths at last year’s market. Most of the food vendors wound up coming from outside the neighborhood.\u003c/p>\n\u003cp>In that sense, the inaugural event was a proof of concept — a test to see if Oakland Chinatown actually \u003ci>could \u003c/i>host a bustling night market. And it proved to be even more successful than Trinh and his team had dared to hope: 14,000 people poured into the streets of Chinatown on a Saturday night. Food vendors were completely sold out by 8 p.m. Even the restaurants that chose not to actively participate still benefited, reporting a 200% increase in revenue that night, Trinh says.\u003c/p>\n\u003cfigure id=\"attachment_13981226\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg\" alt=\"A crowd of people eating at outdoors tables in Chinatown at nighttime.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">About 14,000 people came to the 2024 night market, according to the Oakland Chinatown Improvement Council. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with bolstered confidence, then, that OCIC is running the event back this year. The \u003ca href=\"https://www.ocic-ca.org/2025-night-market\">second annual Oakland Chinatown Night Market\u003c/a> will take place this Saturday, Sept. 13, 5–10 p.m., bringing the neighborhood to life with a mix of street food, antique trinkets, sports and live music — this time with much more robust participation from businesses within Chinatown.\u003c/p>\n\u003cp>“Now the food vendors believe in us,” Trinh says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of what that means is that many more restaurants will set up booths selling street food in front of their shops, including neighborhood staples like Alice Bakery and Shooting Star Cafe. Though one of last year’s core vendors, \u003ca href=\"https://www.kqed.org/arts/13956218/late-night-taiwanese-beef-noodle-soup-stinky-tofu-oakland-chinatown\">Lounge Chinatown\u003c/a>, has since closed, its Jack London sister restaurant, \u003ca href=\"https://www.kqed.org/arts/13918993/dragon-gate-oakland-taiwanese-restaurant-reopening-karaoke\">Dragon Gate\u003c/a>, will also have a booth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>This year’s featured food theme will be a “Taste of Chinatown,” highlighting the kind of classic dishes that are most emblematic of the neighborhood: chicken wings and spring rolls from New Gold Medal, the \u003ca href=\"https://www.kqed.org/arts/13974383/oakland-chinatown-new-gold-medal-late-night\">legendary late-night spot\u003c/a>, and a roast duck rice plate from newcomer Hay Yue. Both of those plates will be available at OCIC’s own booth at the market.\u003c/p>\n\u003cp>All told, there will be more than 20 food vendors. The layout of the event will be inspired by Hong Kong’s traditional night markets, with a mix of food and retail, including Chinese antique vendors from the Laney College Flea Market.\u003c/p>\n\u003cfigure id=\"attachment_13981229\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg\" alt=\"A rapper viewed from behind as he performs in front of a large crowd in the streets of Oakland.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Seiji Oda performing at the 2024 Oakland Chinatown Night Market. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s night market will also have a car show, curated by Castro Valley’s \u003ca href=\"https://www.instagram.com/nakayamamotorsports/?hl=en\">Nakayama Motorsports\u003c/a>. And it will bring back the most popular elements from last year’s event, including a performance stage featuring live music and DJs. This year’s featured artists will include Oakland’s own “\u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">minimalist hyphy\u003c/a>” rapper Seiji Oda, up-and-coming R&B singer \u003ca href=\"https://www.kqed.org/arts/13894289/pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more\">Kiyomi\u003c/a> and a traditional Cantonese cover band Midnight.\u003c/p>\n\u003cp>Also returning from last year: a \u003ca href=\"https://www.instagram.com/p/DOPo8JUEZtv/?hl=en&img_index=1\">pan-Asian basketball tournament\u003c/a> at the Lincoln Square Park rec center starting at 1:30 p.m., with local squads representing China, Japan, Laos/Cambodia and the Philippines. Led by two popular streetball influencers, the Filipino squad took last year’s cup. But Trinh says the other teams have powered up with new recruits this year — they’ll be out for revenge.\u003c/p>\n\u003cfigure id=\"attachment_13981232\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg\" alt=\"On an outdoor basketball court, a Filipino American player scoops the ball toward the basket as two opponents look on.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Team Philippines (in the blue and gold shorts) beat out Team China at the 2024 ‘Asia Cup’ tournament. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trinh says that he’s been to other night markets around Oakland, but this one will always feel “just a little more special.”\u003c/p>\n\u003cp>“It really showed a sense of community,” he says. “It was a lot of people coming out and just supporting because they know that Chinatown has dealt with so much.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.ocic-ca.org/2025-night-market\">\u003ci>Oakland Chinatown Night Market \u003c/i>\u003c/a>\u003ci>will take place on Saturday, Sept. 13, 5–10 p.m. on 8th Street in Oakland, between Webster and Broadway.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "public-art-comments-portsmouth-square-san-francisco-chinatown",
"title": "Public Gets to Weigh In on Art Coming to a Renovated Portsmouth Square",
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"headTitle": "Public Gets to Weigh In on Art Coming to a Renovated Portsmouth Square | KQED",
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"content": "\u003cp>In San Francisco’s Chinatown, Portsmouth Square’s renovation may be \u003ca href=\"https://www.kqed.org/news/12044728/sf-chinatown-park-makeover-delayed-thanks-to-trump-tariffs\">delayed\u003c/a>, but the neighborhood’s artistic future is already in the works. Local residents are being asked to weigh in on the finalists for two planned public artworks — an \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">entrance plaza sculpture\u003c/a> and a \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">clubhouse wall\u003c/a> — that will eventually fill the revamped space. \u003c/p>\n\u003cp>[aside postID='news_12044728,news_11973503']This opportunity provides community members the chance to be seen and heard, ensuring that the public art chosen for Portsmouth Square truly reflects the people who live, work and gather in Chinatown. \u003c/p>\n\u003cp>“Providing public comments is an essential part of our public art selection process,” notes Coma Te, director of communications for the San Francisco Arts Commission. “We encourage all those who are interested, especially those that actively use the public space or who live nearby, to share their feedback.” \u003c/p>\n\u003cp>Community members can share feedback online through the \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">SFAC website\u003c/a>, in person at 667 Grant Ave. and 41 Ross Alley (Thursday–Sunday, 11 a.m.–5 p.m.) and during weekly tabling at the Chinatown Rose Pak Station. Public comments for the proposals will be accepted through July 21 until 5 p.m. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">Entryway sculpture\u003c/a>\u003c/h2>\n\u003cp>Serving as a visual invitation to Portsmouth Square, the entryway sculpture will sit at the corner of Walter U Lum and Washington Streets.\u003c/p>\n\u003cfigure id=\"attachment_13978666\" class=\"wp-caption aligncenter\" style=\"max-width: 1341px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg\" alt=\"tree and cast of tree connected by flat awning, lit at night\" width=\"1341\" height=\"1018\" class=\"size-full wp-image-13978666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-768x583.jpg 768w\" sizes=\"auto, (max-width: 1341px) 100vw, 1341px\">\u003cfigcaption class=\"wp-caption-text\">A nighttime rendering of lee + boles faw’s proposal ‘Living Room/Living Gate.’ \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Living Room/Living Gate\u003c/i> by lee + boles faw\u003c/b>\u003cbr>\nDesigned to embody the message, “when you welcome a guest, you have found your home,” this sculpture highlights Chinatown’s spirit of hospitality and community. The sculpture features a bronze cast of a magnolia tree that stood in Portsmouth Square for over 60 years (and will be cut down during construction), paired with a gilded wooden beam and a living magnolia growing nearby. The artists propose to form a sculptural gateway that bridges generations. \u003c/p>\n\u003cfigure id=\"attachment_13978673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg\" alt=\"two metal lion heads with boot-shaped bases\" width=\"2000\" height=\"1374\" class=\"size-full wp-image-13978673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-1536x1055.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the bronze guardian lions in Bijun Liang’s ‘鞋天鞋地 (xietian xiedi)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>鞋天鞋地 (xietian xiedi)\u003c/i> by Bijun Liang\u003c/b>\u003cbr>\nAn interactive bronze sculpture of two boot-shaped guardian lions, \u003cem>鞋天鞋地 (xietian xiedi)\u003c/em> invites people to touch, engage with and make the sculpture their own, celebrating Chinatown’s spirit of movement, resilience and everyday joy. Rooted in Liang’s personal history as an immigrant raised in the neighborhood, the piece honors the past while looking boldly toward what’s next. \u003c/p>\n\u003cfigure id=\"attachment_13978667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg\" alt=\"rendering of tree sculpture with different fruits hanging from branches\" width=\"2000\" height=\"1534\" class=\"size-full wp-image-13978667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-1536x1178.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the rendering of Cathy Lu’s ‘Nuwa’s Hand (Fruits of Chinatown)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Nuwa’s Hand (Fruits of Chinatown)\u003c/i> by Cathy Lu\u003c/b>\u003cbr>\nThis 11-foot-tall bronze and aluminum sculpture of a mythic tree is rooted in the hand of the Chinese creation goddess, Nuwa. With cast fruits from Chinatown markets growing from its branches, the piece blends ancient symbolism with everyday life to celebrate hybridity, resilience and cultural abundance. Drawing from Lu’s long-standing exploration of diasporic identity, the work reimagines Chinatown as a living, evolving space shaped by its people and their stories. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">Clubhouse wall\u003c/a>\u003c/h2>\n\u003cp>Installed on the interior and exterior walls of the new Portsmouth Square clubhouse, this artwork will likely be made with mosaics or ceramic tile.\u003c/p>\n\u003cfigure id=\"attachment_13978675\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg\" alt=\"illustration of children riding phoenix with inset illustrations of daily life\" width=\"2000\" height=\"1511\" class=\"size-full wp-image-13978675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-1536x1160.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail of the interior wall in Kayan Cheung-Miaw’s ‘Rising Phoenix’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Rising Phoenix\u003c/i> by Kayan Cheung-Miaw\u003c/b>\u003cbr>\nDrawing from a comic-inspired art style, Cheung-Miaw’s design captures themes of struggle, resilience, renewal and individual acts of heroism rooted in the histories of Chinatown and Manilatown. At its center is a phoenix, symbolizing abundance, harmony and collective care, which rises as a tribute to the strength and interconnectedness of the community. \u003c/p>\n\u003cfigure id=\"attachment_13978674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg\" alt=\"rendering of large community space with yellow and red walls\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13978674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A renderings of Jenifer K Wofford’s ‘Community Treasures’ proposal for the interior and exterior clubhouse wall. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Community Treasures\u003c/i> by Jenifer K Wofford\u003c/b>\u003cbr>\nReferencing traditional Chinese cabinets, this wall will include illustrations of precious treasures (like festival lanterns and mahjong tiles, or food like dan tat, baos and zong) that reflect Chinatown’s historical, cultural and community values. Several shelves intentionally remain empty as they await objects that will be created in future community workshops. \u003c/p>\n\u003cfigure id=\"attachment_13978676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg\" alt=\"red and pink illustration with curving dragon and text in multiple languages\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13978676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-1536x1138.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap’s ‘Generations of Love and Care’ proposal for the interior wall of the clubhouse. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Generations of Love and Care\u003c/i> by Christine Wong Yap\u003c/b>\u003cbr>\nYap’s \u003ci>Generations of Love and Care\u003c/i> features drawings of elderly and young lion dancers in a bold graphic style with warm tones of peachy pink and coral. Made with porcelain enamel on steel, the proposed artwork will include hand-lettered text in multiple languages and interactive features like rubbing plates and a photo-friendly silhouette.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The San Francisco Arts Commission is accepting public comment on six designs until July 21. ",
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"title": "Weigh In on Portsmouth Square’s Future Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In San Francisco’s Chinatown, Portsmouth Square’s renovation may be \u003ca href=\"https://www.kqed.org/news/12044728/sf-chinatown-park-makeover-delayed-thanks-to-trump-tariffs\">delayed\u003c/a>, but the neighborhood’s artistic future is already in the works. Local residents are being asked to weigh in on the finalists for two planned public artworks — an \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">entrance plaza sculpture\u003c/a> and a \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">clubhouse wall\u003c/a> — that will eventually fill the revamped space. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This opportunity provides community members the chance to be seen and heard, ensuring that the public art chosen for Portsmouth Square truly reflects the people who live, work and gather in Chinatown. \u003c/p>\n\u003cp>“Providing public comments is an essential part of our public art selection process,” notes Coma Te, director of communications for the San Francisco Arts Commission. “We encourage all those who are interested, especially those that actively use the public space or who live nearby, to share their feedback.” \u003c/p>\n\u003cp>Community members can share feedback online through the \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">SFAC website\u003c/a>, in person at 667 Grant Ave. and 41 Ross Alley (Thursday–Sunday, 11 a.m.–5 p.m.) and during weekly tabling at the Chinatown Rose Pak Station. Public comments for the proposals will be accepted through July 21 until 5 p.m. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">Entryway sculpture\u003c/a>\u003c/h2>\n\u003cp>Serving as a visual invitation to Portsmouth Square, the entryway sculpture will sit at the corner of Walter U Lum and Washington Streets.\u003c/p>\n\u003cfigure id=\"attachment_13978666\" class=\"wp-caption aligncenter\" style=\"max-width: 1341px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg\" alt=\"tree and cast of tree connected by flat awning, lit at night\" width=\"1341\" height=\"1018\" class=\"size-full wp-image-13978666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-768x583.jpg 768w\" sizes=\"auto, (max-width: 1341px) 100vw, 1341px\">\u003cfigcaption class=\"wp-caption-text\">A nighttime rendering of lee + boles faw’s proposal ‘Living Room/Living Gate.’ \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Living Room/Living Gate\u003c/i> by lee + boles faw\u003c/b>\u003cbr>\nDesigned to embody the message, “when you welcome a guest, you have found your home,” this sculpture highlights Chinatown’s spirit of hospitality and community. The sculpture features a bronze cast of a magnolia tree that stood in Portsmouth Square for over 60 years (and will be cut down during construction), paired with a gilded wooden beam and a living magnolia growing nearby. The artists propose to form a sculptural gateway that bridges generations. \u003c/p>\n\u003cfigure id=\"attachment_13978673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg\" alt=\"two metal lion heads with boot-shaped bases\" width=\"2000\" height=\"1374\" class=\"size-full wp-image-13978673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-1536x1055.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the bronze guardian lions in Bijun Liang’s ‘鞋天鞋地 (xietian xiedi)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>鞋天鞋地 (xietian xiedi)\u003c/i> by Bijun Liang\u003c/b>\u003cbr>\nAn interactive bronze sculpture of two boot-shaped guardian lions, \u003cem>鞋天鞋地 (xietian xiedi)\u003c/em> invites people to touch, engage with and make the sculpture their own, celebrating Chinatown’s spirit of movement, resilience and everyday joy. Rooted in Liang’s personal history as an immigrant raised in the neighborhood, the piece honors the past while looking boldly toward what’s next. \u003c/p>\n\u003cfigure id=\"attachment_13978667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg\" alt=\"rendering of tree sculpture with different fruits hanging from branches\" width=\"2000\" height=\"1534\" class=\"size-full wp-image-13978667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-1536x1178.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the rendering of Cathy Lu’s ‘Nuwa’s Hand (Fruits of Chinatown)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Nuwa’s Hand (Fruits of Chinatown)\u003c/i> by Cathy Lu\u003c/b>\u003cbr>\nThis 11-foot-tall bronze and aluminum sculpture of a mythic tree is rooted in the hand of the Chinese creation goddess, Nuwa. With cast fruits from Chinatown markets growing from its branches, the piece blends ancient symbolism with everyday life to celebrate hybridity, resilience and cultural abundance. Drawing from Lu’s long-standing exploration of diasporic identity, the work reimagines Chinatown as a living, evolving space shaped by its people and their stories. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">Clubhouse wall\u003c/a>\u003c/h2>\n\u003cp>Installed on the interior and exterior walls of the new Portsmouth Square clubhouse, this artwork will likely be made with mosaics or ceramic tile.\u003c/p>\n\u003cfigure id=\"attachment_13978675\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg\" alt=\"illustration of children riding phoenix with inset illustrations of daily life\" width=\"2000\" height=\"1511\" class=\"size-full wp-image-13978675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-1536x1160.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail of the interior wall in Kayan Cheung-Miaw’s ‘Rising Phoenix’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Rising Phoenix\u003c/i> by Kayan Cheung-Miaw\u003c/b>\u003cbr>\nDrawing from a comic-inspired art style, Cheung-Miaw’s design captures themes of struggle, resilience, renewal and individual acts of heroism rooted in the histories of Chinatown and Manilatown. At its center is a phoenix, symbolizing abundance, harmony and collective care, which rises as a tribute to the strength and interconnectedness of the community. \u003c/p>\n\u003cfigure id=\"attachment_13978674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg\" alt=\"rendering of large community space with yellow and red walls\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13978674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A renderings of Jenifer K Wofford’s ‘Community Treasures’ proposal for the interior and exterior clubhouse wall. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Community Treasures\u003c/i> by Jenifer K Wofford\u003c/b>\u003cbr>\nReferencing traditional Chinese cabinets, this wall will include illustrations of precious treasures (like festival lanterns and mahjong tiles, or food like dan tat, baos and zong) that reflect Chinatown’s historical, cultural and community values. Several shelves intentionally remain empty as they await objects that will be created in future community workshops. \u003c/p>\n\u003cfigure id=\"attachment_13978676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg\" alt=\"red and pink illustration with curving dragon and text in multiple languages\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13978676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-1536x1138.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap’s ‘Generations of Love and Care’ proposal for the interior wall of the clubhouse. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Generations of Love and Care\u003c/i> by Christine Wong Yap\u003c/b>\u003cbr>\nYap’s \u003ci>Generations of Love and Care\u003c/i> features drawings of elderly and young lion dancers in a bold graphic style with warm tones of peachy pink and coral. Made with porcelain enamel on steel, the proposed artwork will include hand-lettered text in multiple languages and interactive features like rubbing plates and a photo-friendly silhouette.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13976699\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976699\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2.jpg\" alt=\"Illustration: Two men devouring a table full of Cantonese dishes, including roast squab, fried soft-shell crabs, and a pork chop rice bowl.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Part of the excitement at Four Kings comes from covering the table with an abundance of dishes. The new-school Cantonese restaurant is open until 11 p.m. on the weekends in SF Chinatown. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>The buzziest, most popular restaurant in San Francisco today sits in the heart of \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a>, in a cheerful alleyway festooned with red lanterns, directly downstairs from a Kumon (as the restaurant’s young, first-gen Cantonese proprietors are fond of \u003ca href=\"https://www.itsfourkings.com/about\">pointing out\u003c/a>). In that way, \u003ca href=\"https://www.instagram.com/fourkings__/?hl=en\">Four Kings\u003c/a> feels a little bit like some metaphor for millennial Asian America, or maybe just the setting for a novel I’d like to read — one whose plot hinges on the re-creation of some particularly decadent and nostalgic version of claypot rice or Hong Kong pepper steak.\u003c/p>\n\u003cp>Of course, we had come to this bustling Hong Kong–inspired diner late on a Friday night because we’d heard it stays open, and fully packed, until 11 p.m. on weekends — and because we finally wanted to see for ourselves if the place lived up to all the hype.\u003c/p>\n\u003cp>More than a year after the restaurant’s feverishly anticipated debut, Four Kings \u003ci>still \u003c/i>gets booked up weeks in advance. Luckily for night owls, 9:30 p.m. is the most likely time you might be able to land a last-minute reservation. That’s also the best time to just show up and get in line, as we did, hoping to snag one of the tables they save for walk-ins. (We only had to wait about half an hour.)\u003c/p>\n\u003cp>Even apart from the food, Four Kings comes advertised as a \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/four-kings-cantonese-chinatown-19431105.php\">rollicking good time\u003c/a>, and the vibes are indeed excellent from the moment you walk in: Posters of ’80s and ’90s Cantopop idols decorate the walls, and their songs provide a boisterous, deeply nostalgic \u003ca href=\"https://open.spotify.com/playlist/7m5GmSTmYNqJ0VpZFyPG6A?si=c8282f11eef64212&nd=1&dlsi=d4a6f3ea1bdf4a88\">soundtrack\u003c/a> for your meal — lots of moody, sentimental rock ballads with sick guitar riffs. The counter is lined with Polaroids, lucky cat dolls and shochu bottles, and everyone is talking loudly, waving around their chopsticks, throwing back Tsingtao lagers and almond-milk highballs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What we loved about the place, even before we’d taken a bite of the food, was how casual and low-key it was compared to other similarly trendy, acclaimed Bay Area restaurants. The one-page menu is peppered with little cartoon drawings and doesn’t feel the need to name-check any farm or fine-dining technique (despite the \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">chefs’ fancy pedigrees\u003c/a>). And while Four Kings isn’t an inexpensive restaurant, the kitchen’s bells and whistles don’t call attention to themselves, so even the most exciting dishes just feel like really, really good versions of classic Cantonese cuisine.\u003c/p>\n\u003cfigure id=\"attachment_13976700\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976700\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1.jpg\" alt='Illustration: The exterior of a restaurant in Chinatown. The sign about says \"Kumon.\" And there are red lanterns strung up overhead.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is downstairs from a Kumon. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chefs \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">have said\u003c/a> they designed the menu to consist mostly shareable small plates, not much bigger than a standard dim sum, because of the narrowness of their dining room. Budget-minded diners might complain about the price-to-portion-size ratio, but if you order prudently, you can eat really well for about $50 a person.\u003c/p>\n\u003cp>That said: We didn’t order prudently.\u003c/p>\n\u003cp>The best and worst thing about Four Kings is that there are so many amazing-sounding dishes, on both the regular menu and the handwritten specials board, that you really have to restrain yourself from ordering way too much food. (We could have assembled a whole feast out of dishes we lusted after but weren’t able to make room for this time: mapo spaghetti and Singaporean chili crab, clams with black bean sauce and whole fried petrale sole, and and and…)\u003c/p>\n\u003cp>The net effect was that we wound up filling our table with an abundance of little and not-so-little dishes, one after another. First the complimentary peanuts (roasted with bits of seaweed) and garlicky smacked cucumbers. Then, a sinus-clearing salad of hot mustard jellyfish, cut thick so they resembled udon noodles, but with a pleasing, cartilaginous crunch. Chili crisp pig’s head, cut into thin, fat-speckled rounds and topped with chrysanthemum greens. One perfect butter-seared scallop served on the half-shell over a nest of umami-drenched vermicelli.\u003c/p>\n\u003cp>[aside postID='arts_13975908,arts_13967564,arts_13962759']If Four Kings has a signature dish, it’s probably the fried squab (i.e., young pigeon), which comes cut into succulent quarters, claws still attached, tiny head staring back at you on the plate. The bird’s bronzed, glistening skin was immaculately crisp, giving away to a burst of soft fat when we bit in. The pink meat was rich and earthy, like duck with an extra bit of oomph. We tore the squab apart with our hands, squeezing lemon over top and dipping each morsel into a dish of tongue-tingling Sichuan-pepper-salt. If you’re bold and willing to work at it a little, even the head makes for good eating — the bits of crispy skin and the sweet, creamy brain in the center.\u003c/p>\n\u003cp>The prospect of 10 p.m. squab alone makes Four Kings an elite late-night dining destination, but I’d be remiss if I didn’t note that it wasn’t even our favorite dish of the night. That title goes to the “typhoon shelter” soft-shell crab, one of the daily specials. Popularized by a genre of floating restaurant that used to hold court in Hong Kong’s typhoon-safe protective harbors, the “typhoon shelter” style refers to seafood that’s batter-fried and topped with a ton of crispy fried garlic and, in this particular version, fried basil. To make the dish even more outlandishly luxurious, Four Kings also places the crunchy crustaceans on top of a layer of aioli — another rich counterpoint to the tender, sweet flesh inside the shell.\u003c/p>\n\u003cp>And there was so much more. A hefty fried pork chop rice bowl with sweet onions and velvety tomato-egg gravy. Water spinach electried with the pungent jolt of fermented shrimp paste. For dessert, mango pudding with tangy strawberry sorbet, served in a pool of liquified almond tofu.\u003c/p>\n\u003cp>We ate and we ate until we couldn’t possibly take another bite, and then we packed up our leftovers, leaning back ruefully, our hands on our bellies. That’s the kind of energy that Four Kings inspires: At almost every table, people were hunched over four or five different plates at once, crossing chopsticks, double-dipping, letting all those big flavors mingle together. Who’s going to stop you if you decide to dip a morsel of fried squab in the pig head chili oil? What’s to keep you from drizzling some of the fermented shrimp sauce from the ong choy over your pork chop rice?\u003c/p>\n\u003cp>We didn’t regret any of it. And walking back out into the crisp Chinatown night, we were already dreaming about all those dishes we couldn’t wait to try next time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/fourkings__/?hl=en\">\u003ci>Four Kings\u003c/i>\u003c/a>\u003ci> is open Thursday through Saturday 6–11 p.m. and Sunday to Monday 6–10:30 p.m. at 710 Commercial St. in San Francisco. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13976699\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976699\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2.jpg\" alt=\"Illustration: Two men devouring a table full of Cantonese dishes, including roast squab, fried soft-shell crabs, and a pork chop rice bowl.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Part of the excitement at Four Kings comes from covering the table with an abundance of dishes. The new-school Cantonese restaurant is open until 11 p.m. on the weekends in SF Chinatown. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>The buzziest, most popular restaurant in San Francisco today sits in the heart of \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a>, in a cheerful alleyway festooned with red lanterns, directly downstairs from a Kumon (as the restaurant’s young, first-gen Cantonese proprietors are fond of \u003ca href=\"https://www.itsfourkings.com/about\">pointing out\u003c/a>). In that way, \u003ca href=\"https://www.instagram.com/fourkings__/?hl=en\">Four Kings\u003c/a> feels a little bit like some metaphor for millennial Asian America, or maybe just the setting for a novel I’d like to read — one whose plot hinges on the re-creation of some particularly decadent and nostalgic version of claypot rice or Hong Kong pepper steak.\u003c/p>\n\u003cp>Of course, we had come to this bustling Hong Kong–inspired diner late on a Friday night because we’d heard it stays open, and fully packed, until 11 p.m. on weekends — and because we finally wanted to see for ourselves if the place lived up to all the hype.\u003c/p>\n\u003cp>More than a year after the restaurant’s feverishly anticipated debut, Four Kings \u003ci>still \u003c/i>gets booked up weeks in advance. Luckily for night owls, 9:30 p.m. is the most likely time you might be able to land a last-minute reservation. That’s also the best time to just show up and get in line, as we did, hoping to snag one of the tables they save for walk-ins. (We only had to wait about half an hour.)\u003c/p>\n\u003cp>Even apart from the food, Four Kings comes advertised as a \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/four-kings-cantonese-chinatown-19431105.php\">rollicking good time\u003c/a>, and the vibes are indeed excellent from the moment you walk in: Posters of ’80s and ’90s Cantopop idols decorate the walls, and their songs provide a boisterous, deeply nostalgic \u003ca href=\"https://open.spotify.com/playlist/7m5GmSTmYNqJ0VpZFyPG6A?si=c8282f11eef64212&nd=1&dlsi=d4a6f3ea1bdf4a88\">soundtrack\u003c/a> for your meal — lots of moody, sentimental rock ballads with sick guitar riffs. The counter is lined with Polaroids, lucky cat dolls and shochu bottles, and everyone is talking loudly, waving around their chopsticks, throwing back Tsingtao lagers and almond-milk highballs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What we loved about the place, even before we’d taken a bite of the food, was how casual and low-key it was compared to other similarly trendy, acclaimed Bay Area restaurants. The one-page menu is peppered with little cartoon drawings and doesn’t feel the need to name-check any farm or fine-dining technique (despite the \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">chefs’ fancy pedigrees\u003c/a>). And while Four Kings isn’t an inexpensive restaurant, the kitchen’s bells and whistles don’t call attention to themselves, so even the most exciting dishes just feel like really, really good versions of classic Cantonese cuisine.\u003c/p>\n\u003cfigure id=\"attachment_13976700\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976700\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1.jpg\" alt='Illustration: The exterior of a restaurant in Chinatown. The sign about says \"Kumon.\" And there are red lanterns strung up overhead.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/4-kings1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is downstairs from a Kumon. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chefs \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">have said\u003c/a> they designed the menu to consist mostly shareable small plates, not much bigger than a standard dim sum, because of the narrowness of their dining room. Budget-minded diners might complain about the price-to-portion-size ratio, but if you order prudently, you can eat really well for about $50 a person.\u003c/p>\n\u003cp>That said: We didn’t order prudently.\u003c/p>\n\u003cp>The best and worst thing about Four Kings is that there are so many amazing-sounding dishes, on both the regular menu and the handwritten specials board, that you really have to restrain yourself from ordering way too much food. (We could have assembled a whole feast out of dishes we lusted after but weren’t able to make room for this time: mapo spaghetti and Singaporean chili crab, clams with black bean sauce and whole fried petrale sole, and and and…)\u003c/p>\n\u003cp>The net effect was that we wound up filling our table with an abundance of little and not-so-little dishes, one after another. First the complimentary peanuts (roasted with bits of seaweed) and garlicky smacked cucumbers. Then, a sinus-clearing salad of hot mustard jellyfish, cut thick so they resembled udon noodles, but with a pleasing, cartilaginous crunch. Chili crisp pig’s head, cut into thin, fat-speckled rounds and topped with chrysanthemum greens. One perfect butter-seared scallop served on the half-shell over a nest of umami-drenched vermicelli.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If Four Kings has a signature dish, it’s probably the fried squab (i.e., young pigeon), which comes cut into succulent quarters, claws still attached, tiny head staring back at you on the plate. The bird’s bronzed, glistening skin was immaculately crisp, giving away to a burst of soft fat when we bit in. The pink meat was rich and earthy, like duck with an extra bit of oomph. We tore the squab apart with our hands, squeezing lemon over top and dipping each morsel into a dish of tongue-tingling Sichuan-pepper-salt. If you’re bold and willing to work at it a little, even the head makes for good eating — the bits of crispy skin and the sweet, creamy brain in the center.\u003c/p>\n\u003cp>The prospect of 10 p.m. squab alone makes Four Kings an elite late-night dining destination, but I’d be remiss if I didn’t note that it wasn’t even our favorite dish of the night. That title goes to the “typhoon shelter” soft-shell crab, one of the daily specials. Popularized by a genre of floating restaurant that used to hold court in Hong Kong’s typhoon-safe protective harbors, the “typhoon shelter” style refers to seafood that’s batter-fried and topped with a ton of crispy fried garlic and, in this particular version, fried basil. To make the dish even more outlandishly luxurious, Four Kings also places the crunchy crustaceans on top of a layer of aioli — another rich counterpoint to the tender, sweet flesh inside the shell.\u003c/p>\n\u003cp>And there was so much more. A hefty fried pork chop rice bowl with sweet onions and velvety tomato-egg gravy. Water spinach electried with the pungent jolt of fermented shrimp paste. For dessert, mango pudding with tangy strawberry sorbet, served in a pool of liquified almond tofu.\u003c/p>\n\u003cp>We ate and we ate until we couldn’t possibly take another bite, and then we packed up our leftovers, leaning back ruefully, our hands on our bellies. That’s the kind of energy that Four Kings inspires: At almost every table, people were hunched over four or five different plates at once, crossing chopsticks, double-dipping, letting all those big flavors mingle together. Who’s going to stop you if you decide to dip a morsel of fried squab in the pig head chili oil? What’s to keep you from drizzling some of the fermented shrimp sauce from the ong choy over your pork chop rice?\u003c/p>\n\u003cp>We didn’t regret any of it. And walking back out into the crisp Chinatown night, we were already dreaming about all those dishes we couldn’t wait to try next time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/fourkings__/?hl=en\">\u003ci>Four Kings\u003c/i>\u003c/a>\u003ci> is open Thursday through Saturday 6–11 p.m. and Sunday to Monday 6–10:30 p.m. at 710 Commercial St. in San Francisco. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chinatown Pride Celebrates the San Francisco Neighborhood’s Hidden Queer History",
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"content": "\u003cp>San Francisco brims with LGBTQ+ history — and not just in the Castro, its world-famous gayborhood, or the Tenderloin, where trans women rioted for their rights at \u003ca href=\"https://www.kqed.org/arts/13975971/an-immersive-play-at-comptons-cafeteria-where-trans-women-rioted-in-1966\">Compton’s Cafeteria\u003c/a> in 1966. Since at least the 1930s, Chinatown has nurtured its own queer community, something the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> and the art space Edge on the Square hope to highlight with their \u003ca href=\"https://www.cccsf.us/post/chinatown-pride-2025\">Chinatown Pride\u003c/a> celebration on May 24.\u003c/p>\n\u003cp>A centerpiece of Chinatown Pride is a procession that’s more than a parade. It’s a chance to learn about Chinatown’s queer landmarks through a drag-ified walking tour with music and dancing. Kalypso and Kiki Krunch — the 2024 and ’23 winners of the \u003ca href=\"https://www.gapa.org/\">GLBTQ+ Asian Pacific Alliance\u003c/a> drag pageant — will lead the procession to landmarks such as the Grant Street nightlife district, home in the 1930s and ’40s to underground queer speakeasies and tourist-y \u003ca href=\"https://www.kqed.org/arts/13914487/the-chinatown-nightclub-dancer-who-helped-squash-asian-stereotypes\">Chinese American nightclubs\u003c/a> that featured “female impersonation” shows.\u003c/p>\n\u003cp>“We want to honor that legacy and also think about what it means to be visible and also hidden,” says Erika Pallasigue, art and public programs manager at Edge on the Square. “When we’re out here in a procession, saying, ‘We are here, we’re visible,’ there’s also acknowledgement that not everybody is out, and it doesn’t mean that you have to be out to also be proud, queer and Asian.”\u003c/p>\n\u003cfigure id=\"attachment_13975741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, YY Zhu, Erika Pallasigue, Indigo Hua and Hoi Leung pose for a photo in Ross Alley, the fourth stop on the Chinatown Pride procession route, in San Francisco on April 30, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though many queer people feel the need to leave their immigrant communities in order to come out, Chinatown Pride seeks to include those who’ve been queer in Chinatown all along, as well as queer AAPI folks from all over the Bay Area. One group of queer elders will grace Chinatown Pride with a taiko performance. Meanwhile, others’ stories inspired stops along the procession, such as a woman who once worked as a phone operator at the Chinese Telephone Exchange, where secret intimacies between women blossomed in the 1940s.\u003c/p>\n\u003cp>“Chinatown has always been queer,” says Hoi Leung, deputy director and curator of the Chinese Culture Center. “It has always existed in liminal spaces, and that has always been a safe space for counterculture to happen.”\u003c/p>\n\u003cfigure id=\"attachment_13975736\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of Asian women working at the Telephone Exchange, the site where the East West Bank is now, on Washington St in San Francisco’s Chinatown on April 30, 2025. It is the third stop on the Chinatown Pride procession route. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Leung’s view, that queerness extends to even Chinatown’s architecture itself. After the 1906 earthquake, city officials conspired to displace the local Chinese population so that white residents could take over Chinatown’s prime real estate. Amid the negotiations, Chinese American businessmen decided to rebuild the neighborhood with campy, stereotypical architectural flourishes so that Chinatown could become a tourist attraction.\u003c/p>\n\u003cfigure id=\"attachment_13975737\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">YY Zhu, Programs Director for the Chinese Culture Center of San Francisco, points to the East West Bank on Washington St, the third stop on the Chinatown Pride procession route, in San Francisco on April 30, 2025. This was the site of a telephone exchange, staffed entirely by Asian women, who would make concealed connections with each other, while also connecting others. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the Chinatown Pride organizers, that in itself is almost a form of drag. “[Chinatown] actually dressed up, right?” Leung says. “That’s where you get all the lanterns and all the quote-unquote ‘Chinese-style’ facades.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Chinatown Pride procession will land at the Portsmouth Square Pedestrian Bridge, which drag artists, dancers and the Rice Rockettes will use as a runway as they lip sync and deliver gravity-defying dance moves. The evening will also feature interactive art activities, a silent disco and more.\u003c/p>\n\u003cfigure id=\"attachment_13975744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">GAPA Royals Kiki Krunch, left, and Kalypso, right, pose for a photo at the Portsmouth Square pedestrian bridge in San Francisco’s Chinatown on April 30, 2025. The Chinatown Pride procession will end here. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have this notion that the Chinese community has always been conservative in terms of their perspective with the LGBT community,” reflects Kiki Krunch, one of the drag artists leading the Pride procession. “But knowing that [queerness] existed here even during the ’30s, ’40s and ’60s reaffirms that being authentic to yourself really helps to shape the larger social movement.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chinatown Pride is May 24, 6–10 p.m. in San Francisco. The procession kicks off at Edge on the Square (800 Grant Ave.); Pride programming takes place at the Chinese Culture Center Pedestrian Bridge and Ballroom (750 Kearny St.). \u003ca href=\"https://www.cccsf.us/post/chinatown-pride-2025\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco brims with LGBTQ+ history — and not just in the Castro, its world-famous gayborhood, or the Tenderloin, where trans women rioted for their rights at \u003ca href=\"https://www.kqed.org/arts/13975971/an-immersive-play-at-comptons-cafeteria-where-trans-women-rioted-in-1966\">Compton’s Cafeteria\u003c/a> in 1966. Since at least the 1930s, Chinatown has nurtured its own queer community, something the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> and the art space Edge on the Square hope to highlight with their \u003ca href=\"https://www.cccsf.us/post/chinatown-pride-2025\">Chinatown Pride\u003c/a> celebration on May 24.\u003c/p>\n\u003cp>A centerpiece of Chinatown Pride is a procession that’s more than a parade. It’s a chance to learn about Chinatown’s queer landmarks through a drag-ified walking tour with music and dancing. Kalypso and Kiki Krunch — the 2024 and ’23 winners of the \u003ca href=\"https://www.gapa.org/\">GLBTQ+ Asian Pacific Alliance\u003c/a> drag pageant — will lead the procession to landmarks such as the Grant Street nightlife district, home in the 1930s and ’40s to underground queer speakeasies and tourist-y \u003ca href=\"https://www.kqed.org/arts/13914487/the-chinatown-nightclub-dancer-who-helped-squash-asian-stereotypes\">Chinese American nightclubs\u003c/a> that featured “female impersonation” shows.\u003c/p>\n\u003cp>“We want to honor that legacy and also think about what it means to be visible and also hidden,” says Erika Pallasigue, art and public programs manager at Edge on the Square. “When we’re out here in a procession, saying, ‘We are here, we’re visible,’ there’s also acknowledgement that not everybody is out, and it doesn’t mean that you have to be out to also be proud, queer and Asian.”\u003c/p>\n\u003cfigure id=\"attachment_13975741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, YY Zhu, Erika Pallasigue, Indigo Hua and Hoi Leung pose for a photo in Ross Alley, the fourth stop on the Chinatown Pride procession route, in San Francisco on April 30, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though many queer people feel the need to leave their immigrant communities in order to come out, Chinatown Pride seeks to include those who’ve been queer in Chinatown all along, as well as queer AAPI folks from all over the Bay Area. One group of queer elders will grace Chinatown Pride with a taiko performance. Meanwhile, others’ stories inspired stops along the procession, such as a woman who once worked as a phone operator at the Chinese Telephone Exchange, where secret intimacies between women blossomed in the 1940s.\u003c/p>\n\u003cp>“Chinatown has always been queer,” says Hoi Leung, deputy director and curator of the Chinese Culture Center. “It has always existed in liminal spaces, and that has always been a safe space for counterculture to happen.”\u003c/p>\n\u003cfigure id=\"attachment_13975736\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of Asian women working at the Telephone Exchange, the site where the East West Bank is now, on Washington St in San Francisco’s Chinatown on April 30, 2025. It is the third stop on the Chinatown Pride procession route. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Leung’s view, that queerness extends to even Chinatown’s architecture itself. After the 1906 earthquake, city officials conspired to displace the local Chinese population so that white residents could take over Chinatown’s prime real estate. Amid the negotiations, Chinese American businessmen decided to rebuild the neighborhood with campy, stereotypical architectural flourishes so that Chinatown could become a tourist attraction.\u003c/p>\n\u003cfigure id=\"attachment_13975737\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-8-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">YY Zhu, Programs Director for the Chinese Culture Center of San Francisco, points to the East West Bank on Washington St, the third stop on the Chinatown Pride procession route, in San Francisco on April 30, 2025. This was the site of a telephone exchange, staffed entirely by Asian women, who would make concealed connections with each other, while also connecting others. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the Chinatown Pride organizers, that in itself is almost a form of drag. “[Chinatown] actually dressed up, right?” Leung says. “That’s where you get all the lanterns and all the quote-unquote ‘Chinese-style’ facades.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Chinatown Pride procession will land at the Portsmouth Square Pedestrian Bridge, which drag artists, dancers and the Rice Rockettes will use as a runway as they lip sync and deliver gravity-defying dance moves. The evening will also feature interactive art activities, a silent disco and more.\u003c/p>\n\u003cfigure id=\"attachment_13975744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/20250430_CHINATOWNPRIDE_GC-25-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">GAPA Royals Kiki Krunch, left, and Kalypso, right, pose for a photo at the Portsmouth Square pedestrian bridge in San Francisco’s Chinatown on April 30, 2025. The Chinatown Pride procession will end here. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have this notion that the Chinese community has always been conservative in terms of their perspective with the LGBT community,” reflects Kiki Krunch, one of the drag artists leading the Pride procession. “But knowing that [queerness] existed here even during the ’30s, ’40s and ’60s reaffirms that being authentic to yourself really helps to shape the larger social movement.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chinatown Pride is May 24, 6–10 p.m. in San Francisco. The procession kicks off at Edge on the Square (800 Grant Ave.); Pride programming takes place at the Chinese Culture Center Pedestrian Bridge and Ballroom (750 Kearny St.). \u003ca href=\"https://www.cccsf.us/post/chinatown-pride-2025\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Chinatown Cha-Cha’ Is an Ode to Aging Unapologetically",
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"content": "\u003cp>In the 1940s, Coby Yee’s performances at San Francisco’s most famous Chinatown nightclub were positively scandalous. Yee and \u003ca href=\"https://www.kqed.org/arts/13914487/the-chinatown-nightclub-dancer-who-helped-squash-asian-stereotypes\">other young Asian American women on the stage at Forbidden City\u003c/a> showed off modern dance moves, contemporary fashions and — most controversially — their legs. These now-legendary dancers not only helped squash outdated stereotypes about Asian women, they had a riot of a good time in the process and were a huge hit with audiences.\u003c/p>\n\u003cp>[aside postid='arts_13904467']It’s clear that in her youth, Yee was a free spirit — she had to be in order to work in the clubs in the first place. Now, a new documentary demonstrates that she retained her rebellious personality for the rest of her life.\u003c/p>\n\u003cp>\u003cem>Chinatown Cha-Cha\u003c/em> finds Yee at age 92, performing what she refers to as her swan song: the final dance routines of her life, complete with risqué moves and signature coy expressions. In the film, Yee is an effervescent figure both on and offstage, brimming with spicy charisma and a no-nonsense attitude.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x5aMBEIdkK8\u003c/p>\n\u003cp>Accompanying Yee on her final journeys to perform in Beijing and Havana are the \u003ca href=\"https://www.kqed.org/arts/13923980/san-francisco-chinatown-seniors-welcome-in-the-lunar-new-year-with-rap\">Grant Avenue Follies\u003c/a>, San Francisco’s premier senior cabaret troupe, all of whom add color (and several spontaneous outbreaks of song) to the proceedings. But it’s Yee’s romantic relationship with her dance partner Stephen King — a man 20 years her junior — that carries probably the most fascinating dynamic of the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On stage, Yee and King perform George Strait’s 1998 hit “\u003ca href=\"https://www.youtube.com/watch?v=z5Fbcmsp-5s\">I Just Want to Dance With You\u003c/a>” together. King sings adoringly while Yee slowly disrobes down to a leg-baring leotard. Offstage, the couple are playful with one another, often wearing matching outfits designed and sewn at home by Yee, while King creates collages of his love standing on mountaintops. Theirs is an odd coupling, but one that clearly works. At the time director Luka Yuanyuan Yang made \u003cem>Chinatown Cha-Cha\u003c/em>, the lovebirds had been together for 20 years.\u003c/p>\n\u003cp>“Old age has been a great time for us,” King acknowledges at one point. “How unpredictable life is.”\u003c/p>\n\u003cp>That’s really the whole point of \u003cem>Chinatown Cha-Cha\u003c/em>. The film isn’t just about staying active and unconventional into old age, it’s about refusing to give up what you love, whether or not other people think your behavior is appropriate. The energy level of every senior featured here is a testament to sticking with your own personal passions. Doing so is clearly a great way to stay young.\u003c/p>\n\u003cp>[aside postid='arts_13914487']\u003cem>Chinatown Cha-Cha\u003c/em> is not perfect. It would have benefited from a little more background about Yee’s life at Forbidden City — especially since she and her family owned and ran the club in its later years. The structure of the documentary is a little too loose, and doesn’t spend enough time documenting the Grant Avenue Follies’ history and live performances. (There are also three different kinds of fonts used on screen throughout, lending an unfinished feel to the film.)\u003c/p>\n\u003cp>That being said, the fact that Yee’s final performances and, it turns out, last months on Earth are captured in \u003cem>Chinatown Cha-Cha\u003c/em> makes this a film worthy of attention. At one point, as Yee casually completes a game of solitaire on her desktop computer, King questions the nature of life and legacy.\u003c/p>\n\u003cp>“When you’re gone,” he ponders, “and all the people that knew you are gone, it will be like you never were.”\u003c/p>\n\u003cp>Thanks to \u003cem>Chinatown Cha-Cha\u003c/em>, Yee’s legacy will be much harder to forget.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chinatown Cha-Cha’ screens Friday, May 9 as part of CAAMFest at AMC Kabuki 3 in San Francisco; on Saturday, May 10, at Stanford University’s Oshman Hall in Palo Alto; and Sunday, May 11, at the Great Star Theater in San Francisco. A Q&A follows each screening. \u003ca href=\"https://www.chinatownchacha.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s clear that in her youth, Yee was a free spirit — she had to be in order to work in the clubs in the first place. Now, a new documentary demonstrates that she retained her rebellious personality for the rest of her life.\u003c/p>\n\u003cp>\u003cem>Chinatown Cha-Cha\u003c/em> finds Yee at age 92, performing what she refers to as her swan song: the final dance routines of her life, complete with risqué moves and signature coy expressions. In the film, Yee is an effervescent figure both on and offstage, brimming with spicy charisma and a no-nonsense attitude.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x5aMBEIdkK8'\n title='//www.youtube.com/embed/x5aMBEIdkK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Accompanying Yee on her final journeys to perform in Beijing and Havana are the \u003ca href=\"https://www.kqed.org/arts/13923980/san-francisco-chinatown-seniors-welcome-in-the-lunar-new-year-with-rap\">Grant Avenue Follies\u003c/a>, San Francisco’s premier senior cabaret troupe, all of whom add color (and several spontaneous outbreaks of song) to the proceedings. But it’s Yee’s romantic relationship with her dance partner Stephen King — a man 20 years her junior — that carries probably the most fascinating dynamic of the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On stage, Yee and King perform George Strait’s 1998 hit “\u003ca href=\"https://www.youtube.com/watch?v=z5Fbcmsp-5s\">I Just Want to Dance With You\u003c/a>” together. King sings adoringly while Yee slowly disrobes down to a leg-baring leotard. Offstage, the couple are playful with one another, often wearing matching outfits designed and sewn at home by Yee, while King creates collages of his love standing on mountaintops. Theirs is an odd coupling, but one that clearly works. At the time director Luka Yuanyuan Yang made \u003cem>Chinatown Cha-Cha\u003c/em>, the lovebirds had been together for 20 years.\u003c/p>\n\u003cp>“Old age has been a great time for us,” King acknowledges at one point. “How unpredictable life is.”\u003c/p>\n\u003cp>That’s really the whole point of \u003cem>Chinatown Cha-Cha\u003c/em>. The film isn’t just about staying active and unconventional into old age, it’s about refusing to give up what you love, whether or not other people think your behavior is appropriate. The energy level of every senior featured here is a testament to sticking with your own personal passions. Doing so is clearly a great way to stay young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Chinatown Cha-Cha\u003c/em> is not perfect. It would have benefited from a little more background about Yee’s life at Forbidden City — especially since she and her family owned and ran the club in its later years. The structure of the documentary is a little too loose, and doesn’t spend enough time documenting the Grant Avenue Follies’ history and live performances. (There are also three different kinds of fonts used on screen throughout, lending an unfinished feel to the film.)\u003c/p>\n\u003cp>That being said, the fact that Yee’s final performances and, it turns out, last months on Earth are captured in \u003cem>Chinatown Cha-Cha\u003c/em> makes this a film worthy of attention. At one point, as Yee casually completes a game of solitaire on her desktop computer, King questions the nature of life and legacy.\u003c/p>\n\u003cp>“When you’re gone,” he ponders, “and all the people that knew you are gone, it will be like you never were.”\u003c/p>\n\u003cp>Thanks to \u003cem>Chinatown Cha-Cha\u003c/em>, Yee’s legacy will be much harder to forget.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chinatown Cha-Cha’ screens Friday, May 9 as part of CAAMFest at AMC Kabuki 3 in San Francisco; on Saturday, May 10, at Stanford University’s Oshman Hall in Palo Alto; and Sunday, May 11, at the Great Star Theater in San Francisco. A Q&A follows each screening. \u003ca href=\"https://www.chinatownchacha.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13974388\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal.jpg\" alt=\"Two men devour a table full of Cantonese dishes, including chow mein and fried pork chops.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">New Gold Medal has been a local favorite for homey Cantonese food in Oakland Chinatown since 2007 \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Even in the days when everyone would complain about how nothing in Oakland was open past midnight (which is to say, literally the entire time I lived in Oakland), there was always New Gold Medal — the one no-frills Cantonese spot in \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a> where you could get a steaming-hot plate of beef chow fun or a bowl of wonton soup until 3 o’clock in the morning.\u003c/p>\n\u003cp>How many of us have rolled in through those doors, slightly hammered, with a crew seven or eight deep after the bars and clubs let out, or solo after getting off a late work shift, or halfway through an all-night study session? If you live in the East Bay and have ever gotten extremely, extremely hungry in the middle of the night these past two decades, it’s even odds that New Gold Medal has saved your life at least once or twice. (Going even further back, \u003ca href=\"https://eastbayexpress.com/the-hungry-insomniac-1/\">Sun Hong Kong\u003c/a> held court at the same 8th Street location, with a similar menu and late-night hours, starting in the ’80s.)\u003c/p>\n\u003cp>The good news is that New Gold Medal is still around, \u003ci>still \u003c/i>open until 3 a.m. It still sits in the same classic Chinatown building with the tall, narrow windows and glazed tile eaves — still has the same picturesque tableau of glistening, well-bronzed ducks hanging in the window above a fat stack of fried dough sticks.\u003c/p>\n\u003cp>Most importantly? The food is just as good as it ever was and still hits perfectly when eaten at or around midnight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Admittedly, \u003ci>some \u003c/i>things have changed. For one, at least during our visit at around 11 o’clock on a weeknight, the crowd was a lot more subdued than I remember — less party time and more tired gig workers enjoying a late dinner before going home to crash for the night. If anything, this made for even more satisfying people-watching: There was an older Cantonese family — a lady with a walker hunched over a bowl of soup, a severe-looking gentleman with a black sport coat and tidy, slicked-back hair. The whole group of them looked like they’d be stone-cold killers at the mahjong table. In the corner, a middle-aged South Asian guy had ordered two dishes and a tureen of soup all for himself and was absolutely going to town.\u003c/p>\n\u003cp>Another change: I regret to inform you that the days of the $6.50 rice plate and $16 whole roast duck — staples of my 2010s initiation as an NGM devotee — are long gone. The prices have gone up here just like they have everywhere in the Bay, so these days most items on the menu will run you $15 to $20. But the portions are still as generous as they ever were, so the upshot is that you can drop about $60 on three dishes and a big tub of rice, eat until you’re stuffed, and go home happy and full, with plenty of leftovers for lunch the next day. Not exactly something to complain about.\u003c/p>\n\u003cfigure id=\"attachment_13974391\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974391\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2.jpg\" alt='Exterior facade of a Chinese restaurant at night. The sign reads, \"New Gold Medal.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is one of just a handful of Chinatown spots that’s open late — until 3 a.m. most nights. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Gold Medal isn’t the kind of destination restaurant that has some rare specialty dish it’s famous for. But if you like homey Cantonese food, its vast menu covers all of the standards — and does almost all of them exceptionally well. It might be best known for its Cantonese-style barbecue, and on a good day, the crispy-skinned roast pork is as tasty as any version you can find in the East Bay. It can be hit or miss, though — and if you’re coming late at night, chances are, the only cuts left in the case will be sad and dry. We went instead with the duck, which is reliably juicy and succulent at all hours, roasted slowly until the fat renders down to a particularly luscious texture. I have to stop myself from eating half a bird all by myself.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13973430,arts_13972834,arts_13956218']\u003c/span>\u003c/span>On this visit, we also devoured a plate of the Gold Medal chow mein, a crispy nest of fried noodles topped with a slurry of assorted meats, seafood and enough bok choy and shiitake mushrooms to make you feel like you got your meal’s worth of veggies. The salt-and-pepper fried pork chops came out tremendously hot and crispy, sprinkled with sliced garlic and jalapeños, and cut into hefty pieces that were super satisfying to gnaw off the bone.\u003c/p>\n\u003cp>But it almost doesn’t matter what you order. Every regular has their own favorites, running the gamut from war wonton soup to the assortment of clay pot rice dishes and stir-fried noodles. My own personal favorite is the stir-fried shrimp and eggs, a dish I’ve ordered at at least a dozen other restaurants in the Bay. But the scallion-flecked eggs never come out as light and fluffy as they do here — slippery enough to make the dish all the more comforting when you scoop it up over a big bowl of white rice. For me, no trip to New Gold Medal is complete without this dish.\u003c/p>\n\u003cp>Meanwhile, a couple of middle-aged ladies who’ve been at the restaurant forever run the place with efficiency and good humor, cracking jokes with regulars — equally adept, it seems, in English, Cantonese and Mandarin, and probably several other dialects I’m not aware of.\u003c/p>\n\u003cp>These days, all we hear about is how the Bay Area’s Chinatowns are dying, and how Oakland Chinatown, in particular, was killed off by the COVID era and its aftermath. All the more reason to celebrate the survivors, then — to give thanks that even now, you can stumble into New Gold Medal at 3 a.m. and eat probably the best meal you’ll eat all week.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>New Gold Medal is open 9 a.m.–3 a.m. daily except for Tuesdays, when it closes at midnight. The restaurant is located at 389 8th St. in Oakland.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13974388\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal.jpg\" alt=\"Two men devour a table full of Cantonese dishes, including chow mein and fried pork chops.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">New Gold Medal has been a local favorite for homey Cantonese food in Oakland Chinatown since 2007 \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Even in the days when everyone would complain about how nothing in Oakland was open past midnight (which is to say, literally the entire time I lived in Oakland), there was always New Gold Medal — the one no-frills Cantonese spot in \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a> where you could get a steaming-hot plate of beef chow fun or a bowl of wonton soup until 3 o’clock in the morning.\u003c/p>\n\u003cp>How many of us have rolled in through those doors, slightly hammered, with a crew seven or eight deep after the bars and clubs let out, or solo after getting off a late work shift, or halfway through an all-night study session? If you live in the East Bay and have ever gotten extremely, extremely hungry in the middle of the night these past two decades, it’s even odds that New Gold Medal has saved your life at least once or twice. (Going even further back, \u003ca href=\"https://eastbayexpress.com/the-hungry-insomniac-1/\">Sun Hong Kong\u003c/a> held court at the same 8th Street location, with a similar menu and late-night hours, starting in the ’80s.)\u003c/p>\n\u003cp>The good news is that New Gold Medal is still around, \u003ci>still \u003c/i>open until 3 a.m. It still sits in the same classic Chinatown building with the tall, narrow windows and glazed tile eaves — still has the same picturesque tableau of glistening, well-bronzed ducks hanging in the window above a fat stack of fried dough sticks.\u003c/p>\n\u003cp>Most importantly? The food is just as good as it ever was and still hits perfectly when eaten at or around midnight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Admittedly, \u003ci>some \u003c/i>things have changed. For one, at least during our visit at around 11 o’clock on a weeknight, the crowd was a lot more subdued than I remember — less party time and more tired gig workers enjoying a late dinner before going home to crash for the night. If anything, this made for even more satisfying people-watching: There was an older Cantonese family — a lady with a walker hunched over a bowl of soup, a severe-looking gentleman with a black sport coat and tidy, slicked-back hair. The whole group of them looked like they’d be stone-cold killers at the mahjong table. In the corner, a middle-aged South Asian guy had ordered two dishes and a tureen of soup all for himself and was absolutely going to town.\u003c/p>\n\u003cp>Another change: I regret to inform you that the days of the $6.50 rice plate and $16 whole roast duck — staples of my 2010s initiation as an NGM devotee — are long gone. The prices have gone up here just like they have everywhere in the Bay, so these days most items on the menu will run you $15 to $20. But the portions are still as generous as they ever were, so the upshot is that you can drop about $60 on three dishes and a big tub of rice, eat until you’re stuffed, and go home happy and full, with plenty of leftovers for lunch the next day. Not exactly something to complain about.\u003c/p>\n\u003cfigure id=\"attachment_13974391\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974391\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2.jpg\" alt='Exterior facade of a Chinese restaurant at night. The sign reads, \"New Gold Medal.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/newgoldmedal2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is one of just a handful of Chinatown spots that’s open late — until 3 a.m. most nights. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Gold Medal isn’t the kind of destination restaurant that has some rare specialty dish it’s famous for. But if you like homey Cantonese food, its vast menu covers all of the standards — and does almost all of them exceptionally well. It might be best known for its Cantonese-style barbecue, and on a good day, the crispy-skinned roast pork is as tasty as any version you can find in the East Bay. It can be hit or miss, though — and if you’re coming late at night, chances are, the only cuts left in the case will be sad and dry. We went instead with the duck, which is reliably juicy and succulent at all hours, roasted slowly until the fat renders down to a particularly luscious texture. I have to stop myself from eating half a bird all by myself.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>On this visit, we also devoured a plate of the Gold Medal chow mein, a crispy nest of fried noodles topped with a slurry of assorted meats, seafood and enough bok choy and shiitake mushrooms to make you feel like you got your meal’s worth of veggies. The salt-and-pepper fried pork chops came out tremendously hot and crispy, sprinkled with sliced garlic and jalapeños, and cut into hefty pieces that were super satisfying to gnaw off the bone.\u003c/p>\n\u003cp>But it almost doesn’t matter what you order. Every regular has their own favorites, running the gamut from war wonton soup to the assortment of clay pot rice dishes and stir-fried noodles. My own personal favorite is the stir-fried shrimp and eggs, a dish I’ve ordered at at least a dozen other restaurants in the Bay. But the scallion-flecked eggs never come out as light and fluffy as they do here — slippery enough to make the dish all the more comforting when you scoop it up over a big bowl of white rice. For me, no trip to New Gold Medal is complete without this dish.\u003c/p>\n\u003cp>Meanwhile, a couple of middle-aged ladies who’ve been at the restaurant forever run the place with efficiency and good humor, cracking jokes with regulars — equally adept, it seems, in English, Cantonese and Mandarin, and probably several other dialects I’m not aware of.\u003c/p>\n\u003cp>These days, all we hear about is how the Bay Area’s Chinatowns are dying, and how Oakland Chinatown, in particular, was killed off by the COVID era and its aftermath. All the more reason to celebrate the survivors, then — to give thanks that even now, you can stumble into New Gold Medal at 3 a.m. and eat probably the best meal you’ll eat all week.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 10
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"meta": {
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},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"live-from-here-highlights": {
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
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"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 13
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"order": 12
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"link": "/radio/program/on-the-media",
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},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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