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"content": "\u003cp>[dropcap]M[/dropcap]y childhood trips to the Bay Area were a chance for my family to revisit old haunts. Whenever my dad would drive us down the long strip of highway from Sacramento to San Francisco, he would point out every memorable cue through the car window. “That’s the hospital you were born in” or “I used to come here for shakes and soft serve” or, my favorite, “that’s where your grandmother’s old restaurant used to be.”\u003c/p>\n\u003cp>In fact, my grandmother, Helena Lomanto, was one of the Bay Area’s very first Indonesian restaurateurs — though I didn’t know it at the time.\u003c/p>\n\u003cp>That restaurant we’d pass by is now Waikiki Hawaiian BBQ, a humble takeout facade on San Pablo Avenue’s El Cerrito strip. I know it best from old pictures, where my grandmother’s signage displayed the name “BOROBUDUR” in all caps. Inside the restaurant was a takeout counter and pink laminated menus. Served hot and fresh: ayam goreng, or thinly battered fried chicken with sambal goreng on the side, and a variety of rice plates and vegetable stir fries. Like many Asian restaurants in the Bay Area during the ’80s and ’90s, the menu was a mix of timeless classics like bakmi goreng (an Indonesian take on Chinese chow mein) and more fusion-y, Americanized flavors.\u003c/p>\n\u003cp>My grandmother loved to tell me stories about her days in the restaurant and how she learned about the business when she first immigrated stateside and worked as the lettuce slicer at Burger King. Soon enough, she and my grandfather would open not one, but three different Chinese-Indonesian restaurants in the Bay Area — one in San Francisco, one in El Cerrito and yet another in Daly City.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\"]‘My grandmother was one of the Bay Area’s very first Indonesian restaurateurs — though I didn’t know it at the time.’[/pullquote]And so, when I heard that her restaurants hadn’t done well, I wanted to know more. I wanted to know \u003ci>why\u003c/i> it wasn’t bustling with people. After all, my friends used to fight for a spot at my dining table.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, my father explained it to me: Borobudur wasn’t an El Cerrito hotspot because people don’t travel to El Cerrito for Chinese-Indonesian cuisine. There’s a word for it in Indonesian — hokee\u003ci>,\u003c/i> which roughly translates to “luck.” The location of that restaurant, plus the exact timing of the cuisine in that specific locale, was not hokee. By the late ’90s, her third and final restaurant — Daly City’s Plantation Golden Fried Chicken — had also closed.\u003c/p>\n\u003cfigure id=\"attachment_13929187\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city.jpg\" alt='Photograph dated April 13, 1991 shows the facade of a strip mall restaurant at dusk. The sign reads, \"Plantation Golden Fried Chicken\" in red letters.' width=\"1920\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-1536x1068.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plantation Golden Fried Chicken in Daly City was the last of Lomanto’s restaurants. It closed in the late ’90s. \u003ccite>(Courtesy of Helena Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past few years, Indonesian restaurants across the Bay Area have once again been struggling. My standard meeting places with visiting relatives saw less and less traffic in the years before the pandemic: Jayakarta in Berkeley shuttered its windows in the summer of 2019. \u003ca href=\"https://www.sfchronicle.com/food/article/Two-of-the-Bay-Area-s-only-Indonesian-14373778.php\">Another restaurant called Borobudur\u003c/a> — often cited as the oldest Indonesian restaurant in San Francisco — soon followed.\u003c/p>\n\u003cp>As it turns out, that Borobudur was my grandparents’ first restaurant. I didn’t make the connection until recently, when my grandmother showed me some photographs of her San Francisco restaurant: Scrawled in the caption was the same name, the same Post Street address. \u003ca href=\"https://www.kqed.org/checkplease/1461/borobudur-restaurant-review\">New owners\u003c/a> must have taken over the business sometime in the early ’90s.\u003c/p>\n\u003cp>What I knew about Borobudur were the stories she’d tell me. My grandmother’s tenure at the San Francisco restaurant saw its heyday in the 1980s. For a while, the business thrived — especially on Tuesdays, when a certain thin, middle-aged woman would eat at my grandmother’s table during her lunch break. Every time she came in, a horde of other customers would follow, and, in our family lore, this mystery woman came to be regarded as the restaurant’s good luck charm.\u003c/p>\n\u003cfigure id=\"attachment_13929188\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/borobudur-dining-room_5735.jpg\" alt='Man and a woman pose for a photograph in the dining room of their restaurant. A handwritten caption reads, \"Borobudur Resto, 1981. 700 Post St., San Francisco, CA.\"' width=\"1920\" height=\"1403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-1536x1122.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lomanto and her husband pose in Borobudur’s dining room during the restaurant’s heyday in the early ’80s. \u003ccite>(Courtesy of Helena Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those years, the clientele at Borobudur was diverse, consisting mostly of locals looking for a good hole-in-the-wall Asian food stop. The restaurant’s biggest asset was loyalty. Regular customers would come back again and again to order from the menu’s bilingual offerings — satay ayam (chicken skewers with peanut sauce) or honey walnut prawns made with extra mayonnaise. Even the mystery woman made her way around the menu during her weekly visits.\u003c/p>\n\u003cp>But when the 1989 earthquake struck, in all its 6.9-magnitude glory, Borobudur’s customers proved to be superstitious as well. My grandmother speaks about how she felt the ground shake beneath her feet. Trinkets fell off shelves. Plates rattled in cupboards. Everyone inside the restaurant scrambled for cover. After that, the good luck charm woman did not return, and the Tuesday lunch rush slowed in the weeks that followed.\u003c/p>\n\u003cp>The restaurant’s hokee, it seemed, had run out.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\"]‘When the 1989 earthquake struck, in all its 6.9-magnitude glory, Borobudur’s customers proved to be superstitious as well.’[/pullquote]I’d always imagined the restaurant having the bustling atmosphere I see in my own favorite restaurants. But my grandmother used to regale us about the toll that cooking took on her body. Eventually, retirement called, and she quickly realized that there were other mouths to feed. Mainly, my sister’s and mine.\u003c/p>\n\u003cp>Growing up, I lived with my grandparents as a part of our family’s intergenerational household. Every night, I would devour a home-cooked meal from my grandma’s well-seasoned wok. Sometimes it was a steaming bowl of pickled greens and pork bone soup — so sour and scintillating that I would call it “refreshing soup.” Sometimes it would be a sweet soy sauce, onion and potato stir-fry that we called “Hayley potatoes,” because it was the only plate our neighbor Hayley would finish. I had every sweet and savory treat I desired because of her prowess in the kitchen.\u003c/p>\n\u003cfigure id=\"attachment_13929189\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/helena-lomanto-90.jpg\" alt=\"A young woman poses with her grandmother in front of a birthday during the grandmother's 90th birthday celebration. The older woman wears a pink sash that reads, "Happy 90th Birthday."\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author and her grandmother pose for a photo during the grandmother’s 90th birthday celebration. \u003ccite>(Courtesy of Giovanna Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My grandma spent her retirement taking care of the two of us, cooking most (if not all) of our meals, and driving us to and from school in our new Sacramento home. After my grandfather passed away, my mother started taking up her mantle in the kitchen, and I began to desire culinary talents of my own.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13904861,arts_13921079,arts_13908798']\u003c/span>A few years ago, my grandmother sent me six notebooks filled with her handwritten recipes. Excited to flip through and learn her secrets, I opened the recipe books only to find that they were all written by hand in Dutch, the language she spoke in a colonized Indonesia. Her loopy cursive fell to sharp corners on her p’s and a’s, and much of the pencil lead was wearing off the faded pages. Suddenly, I was no longer worried about cooking replications of her food. I just wanted to preserve the pages, to seal into memory all the knowledge she had bestowed upon these precious artifacts.\u003c/p>\n\u003cp>The recipe books are in my room, wrapped in a plastic bag and some rubber bands, waiting for the day that I learn Dutch. Maybe it’ll never happen — maybe they’ll be some indecipherable family heirloom I’ll pass down to my children.\u003c/p>\n\u003cp>One thing is certain, though. Along with the other keepsakes I’ve collected from my grandmother’s closet of trinkets and memories, I’ll make sure to share at least one photo for posterity: my grandmother standing in front of the glass window outside her El Cerrito restaurant, surrounded by her husband and her sisters. All of them joined together in the physical space where she once shared a taste of her home.\u003c/p>\n\u003cp>The joy she exudes, in that picture and onwards, has always been the source of my hokee.\u003c/p>\n\u003cfigure id=\"attachment_13929190\" class=\"wp-caption alignnone\" style=\"max-width: 1006px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929190\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/borobudur-el-cerrito.jpg\" alt='A family poses for a photo in front of a restaurant. A handwritten label reads, \"Borobudur Restaurant, San Pablo Ave., El Cerrito, CA.\"' width=\"1006\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito.jpg 1006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito-768x543.jpg 768w\" sizes=\"(max-width: 1006px) 100vw, 1006px\">\u003cfigcaption class=\"wp-caption-text\">Helena Lomanto and her family pose for a portrait in front of their El Cerrito restaurant. Today the space is occupied by Waikiki Hawaiian BBQ. \u003ccite>(Courtesy of Helena Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>y childhood trips to the Bay Area were a chance for my family to revisit old haunts. Whenever my dad would drive us down the long strip of highway from Sacramento to San Francisco, he would point out every memorable cue through the car window. “That’s the hospital you were born in” or “I used to come here for shakes and soft serve” or, my favorite, “that’s where your grandmother’s old restaurant used to be.”\u003c/p>\n\u003cp>In fact, my grandmother, Helena Lomanto, was one of the Bay Area’s very first Indonesian restaurateurs — though I didn’t know it at the time.\u003c/p>\n\u003cp>That restaurant we’d pass by is now Waikiki Hawaiian BBQ, a humble takeout facade on San Pablo Avenue’s El Cerrito strip. I know it best from old pictures, where my grandmother’s signage displayed the name “BOROBUDUR” in all caps. Inside the restaurant was a takeout counter and pink laminated menus. Served hot and fresh: ayam goreng, or thinly battered fried chicken with sambal goreng on the side, and a variety of rice plates and vegetable stir fries. Like many Asian restaurants in the Bay Area during the ’80s and ’90s, the menu was a mix of timeless classics like bakmi goreng (an Indonesian take on Chinese chow mein) and more fusion-y, Americanized flavors.\u003c/p>\n\u003cp>My grandmother loved to tell me stories about her days in the restaurant and how she learned about the business when she first immigrated stateside and worked as the lettuce slicer at Burger King. Soon enough, she and my grandfather would open not one, but three different Chinese-Indonesian restaurants in the Bay Area — one in San Francisco, one in El Cerrito and yet another in Daly City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so, when I heard that her restaurants hadn’t done well, I wanted to know more. I wanted to know \u003ci>why\u003c/i> it wasn’t bustling with people. After all, my friends used to fight for a spot at my dining table.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, my father explained it to me: Borobudur wasn’t an El Cerrito hotspot because people don’t travel to El Cerrito for Chinese-Indonesian cuisine. There’s a word for it in Indonesian — hokee\u003ci>,\u003c/i> which roughly translates to “luck.” The location of that restaurant, plus the exact timing of the cuisine in that specific locale, was not hokee. By the late ’90s, her third and final restaurant — Daly City’s Plantation Golden Fried Chicken — had also closed.\u003c/p>\n\u003cfigure id=\"attachment_13929187\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city.jpg\" alt='Photograph dated April 13, 1991 shows the facade of a strip mall restaurant at dusk. The sign reads, \"Plantation Golden Fried Chicken\" in red letters.' width=\"1920\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/plantation-golden-fried-chicken-daly-city-1536x1068.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plantation Golden Fried Chicken in Daly City was the last of Lomanto’s restaurants. It closed in the late ’90s. \u003ccite>(Courtesy of Helena Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past few years, Indonesian restaurants across the Bay Area have once again been struggling. My standard meeting places with visiting relatives saw less and less traffic in the years before the pandemic: Jayakarta in Berkeley shuttered its windows in the summer of 2019. \u003ca href=\"https://www.sfchronicle.com/food/article/Two-of-the-Bay-Area-s-only-Indonesian-14373778.php\">Another restaurant called Borobudur\u003c/a> — often cited as the oldest Indonesian restaurant in San Francisco — soon followed.\u003c/p>\n\u003cp>As it turns out, that Borobudur was my grandparents’ first restaurant. I didn’t make the connection until recently, when my grandmother showed me some photographs of her San Francisco restaurant: Scrawled in the caption was the same name, the same Post Street address. \u003ca href=\"https://www.kqed.org/checkplease/1461/borobudur-restaurant-review\">New owners\u003c/a> must have taken over the business sometime in the early ’90s.\u003c/p>\n\u003cp>What I knew about Borobudur were the stories she’d tell me. My grandmother’s tenure at the San Francisco restaurant saw its heyday in the 1980s. For a while, the business thrived — especially on Tuesdays, when a certain thin, middle-aged woman would eat at my grandmother’s table during her lunch break. Every time she came in, a horde of other customers would follow, and, in our family lore, this mystery woman came to be regarded as the restaurant’s good luck charm.\u003c/p>\n\u003cfigure id=\"attachment_13929188\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/borobudur-dining-room_5735.jpg\" alt='Man and a woman pose for a photograph in the dining room of their restaurant. A handwritten caption reads, \"Borobudur Resto, 1981. 700 Post St., San Francisco, CA.\"' width=\"1920\" height=\"1403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-dining-room_5735-1536x1122.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lomanto and her husband pose in Borobudur’s dining room during the restaurant’s heyday in the early ’80s. \u003ccite>(Courtesy of Helena Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those years, the clientele at Borobudur was diverse, consisting mostly of locals looking for a good hole-in-the-wall Asian food stop. The restaurant’s biggest asset was loyalty. Regular customers would come back again and again to order from the menu’s bilingual offerings — satay ayam (chicken skewers with peanut sauce) or honey walnut prawns made with extra mayonnaise. Even the mystery woman made her way around the menu during her weekly visits.\u003c/p>\n\u003cp>But when the 1989 earthquake struck, in all its 6.9-magnitude glory, Borobudur’s customers proved to be superstitious as well. My grandmother speaks about how she felt the ground shake beneath her feet. Trinkets fell off shelves. Plates rattled in cupboards. Everyone inside the restaurant scrambled for cover. After that, the good luck charm woman did not return, and the Tuesday lunch rush slowed in the weeks that followed.\u003c/p>\n\u003cp>The restaurant’s hokee, it seemed, had run out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’d always imagined the restaurant having the bustling atmosphere I see in my own favorite restaurants. But my grandmother used to regale us about the toll that cooking took on her body. Eventually, retirement called, and she quickly realized that there were other mouths to feed. Mainly, my sister’s and mine.\u003c/p>\n\u003cp>Growing up, I lived with my grandparents as a part of our family’s intergenerational household. Every night, I would devour a home-cooked meal from my grandma’s well-seasoned wok. Sometimes it was a steaming bowl of pickled greens and pork bone soup — so sour and scintillating that I would call it “refreshing soup.” Sometimes it would be a sweet soy sauce, onion and potato stir-fry that we called “Hayley potatoes,” because it was the only plate our neighbor Hayley would finish. I had every sweet and savory treat I desired because of her prowess in the kitchen.\u003c/p>\n\u003cfigure id=\"attachment_13929189\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/helena-lomanto-90.jpg\" alt=\"A young woman poses with her grandmother in front of a birthday during the grandmother's 90th birthday celebration. The older woman wears a pink sash that reads, "Happy 90th Birthday."\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/helena-lomanto-90-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author and her grandmother pose for a photo during the grandmother’s 90th birthday celebration. \u003ccite>(Courtesy of Giovanna Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My grandma spent her retirement taking care of the two of us, cooking most (if not all) of our meals, and driving us to and from school in our new Sacramento home. After my grandfather passed away, my mother started taking up her mantle in the kitchen, and I began to desire culinary talents of my own.\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>A few years ago, my grandmother sent me six notebooks filled with her handwritten recipes. Excited to flip through and learn her secrets, I opened the recipe books only to find that they were all written by hand in Dutch, the language she spoke in a colonized Indonesia. Her loopy cursive fell to sharp corners on her p’s and a’s, and much of the pencil lead was wearing off the faded pages. Suddenly, I was no longer worried about cooking replications of her food. I just wanted to preserve the pages, to seal into memory all the knowledge she had bestowed upon these precious artifacts.\u003c/p>\n\u003cp>The recipe books are in my room, wrapped in a plastic bag and some rubber bands, waiting for the day that I learn Dutch. Maybe it’ll never happen — maybe they’ll be some indecipherable family heirloom I’ll pass down to my children.\u003c/p>\n\u003cp>One thing is certain, though. Along with the other keepsakes I’ve collected from my grandmother’s closet of trinkets and memories, I’ll make sure to share at least one photo for posterity: my grandmother standing in front of the glass window outside her El Cerrito restaurant, surrounded by her husband and her sisters. All of them joined together in the physical space where she once shared a taste of her home.\u003c/p>\n\u003cp>The joy she exudes, in that picture and onwards, has always been the source of my hokee.\u003c/p>\n\u003cfigure id=\"attachment_13929190\" class=\"wp-caption alignnone\" style=\"max-width: 1006px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929190\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/borobudur-el-cerrito.jpg\" alt='A family poses for a photo in front of a restaurant. A handwritten label reads, \"Borobudur Restaurant, San Pablo Ave., El Cerrito, CA.\"' width=\"1006\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito.jpg 1006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/borobudur-el-cerrito-768x543.jpg 768w\" sizes=\"(max-width: 1006px) 100vw, 1006px\">\u003cfigcaption class=\"wp-caption-text\">Helena Lomanto and her family pose for a portrait in front of their El Cerrito restaurant. Today the space is occupied by Waikiki Hawaiian BBQ. \u003ccite>(Courtesy of Helena Lomanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jo Koy’s Daly City-Set ‘Easter Sunday’ Puts Filipinos Front and Center",
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"content": "\u003cp>For a comedy, Jo Koy’s new movie \u003cem>Easter Sunday\u003c/em> had a lot of waterworks.\u003c/p>\n\u003cp>The film was no ordinary job for the comedian and the rest of the cast. The magnitude of being on a mostly Filipino set led to happy cry-fests, Koy said. Emotions really hit when co-star Tia Carrere pointed out this was her first time playing a Filipino character in her 40-year career.\u003c/p>\n\u003cp>“To be able to be right there in a scene with five other Filipino actors and just doing a scene about a family… She never saw that before,” Koy, 51, told The Associated Press. “We all just kind of like teared up and just celebrated together because it’s like ‘OK, this is going to be one of many moments up here.’”\u003c/p>\n\u003cp>Koy, who is half Filipino and half white, is making his feature film debut in a movie largely inspired by the material from his Netflix stand-up specials. DreamWorks/Universal is touting \u003cem>Easter Sunday\u003c/em>, which opened in theaters Aug. 5, as the first big studio movie with an all-Filipino ensemble. Koy plays Joe Valencia, a comic and aspiring actor who goes home to Daly City for the titular holiday. He attempts to bond with his teenage son while dealing with well-meaning but overbearing relatives. The production comes at a time when Filipino American food, history and advocacy are increasingly emerging into the zeitgeist.\u003c/p>\n\u003cp>“Finally our stories, our faces are front and center on the big screen,” said Carrere, 55, and known for movies like \u003ci>Wayne’s World\u003c/i>, \u003ci>True Lies\u003c/i> and \u003ci>Lilo & Stitch\u003c/i>. “I have to pinch myself that I’m still here, still in the business and invited to the party.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jimmy O. Yang (\u003cem>Crazy Rich Asians\u003c/em>, \u003cem>Love Hard\u003c/em>), who has a cameo in \u003cem>Easter Sunday\u003c/em>, also served as a producer. That meant watching many, many audition tapes of actors of Filipino or Asian descent. Yang was blown away by the talent. It made casting 10 roles that much tougher. He thinks Hollywood claims that capable Asian actors are hard to find are just lazy excuses.\u003c/p>\n\u003cp>“As an actor, I’m like all of these guys are so good. How did I ever get a job?” Yang said. “Some of them I wanted to call them and be like ‘Hey, man! Please keep going OK? We just couldn’t hire you for this job but please keep going.’”\u003c/p>\n\u003cp>https://youtu.be/YIixb42aJPg\u003c/p>\n\u003cp>\u003cem>Easter Sunday\u003c/em>, directed by Jay Chandrasekhar, is set in the heavily Filipino suburb of Daly City where screenwriter Ken Cheng immigrated to as a kid. He envisioned a mix of Ice Cube’s \u003cem>Friday\u003c/em> and the holiday flick \u003cem>It’s a Wonderful Life\u003c/em>. A producer, too, Cheng wrote it in 2020 during lockdown. He then turned to Steven Spielberg, whose Amblin Partners is co-producing. Within a few hours the legendary director read it and gave his approval, according to Cheng.\u003c/p>\n\u003cp>“From that day to the first day we started shooting was something like five and a half months. And that’s like insanely fast,” Cheng said. “A lot of that is how enthusiastic everyone was about building a movie around Jo.”\u003c/p>\n\u003cp>Hollywood is populated with notable half-Filipino actors like Vanessa Hudgens and Darren Criss. But Koy is the one leaning into his heritage in his work. For example, he wanted a scene in \u003cem>Easter Sunday\u003c/em> showing the family packing customary balikbayan boxes. Filipinos, usually first-generation immigrants, typically send boxes with American goods to relatives in the Philippines. Mailing balikbayan boxes is practically its own industry.\u003c/p>\n\u003cp>“There’s this responsibility that they put on their shoulders when they make it to this country,” Koy said. “I see that with a lot of Filipino families and I wanted to show the world that’s how important this is to us.”\u003c/p>\n\u003cp>[aside postID='arts_13915581,arts_13913947,arts_13914762']Today, Filipinos make up over 4 million of the country’s 23 million-plus Asian population, according to the U.S. Census. Filipino culture and history have been gaining more mainstream visibility in recent years—mostly because of decades-long activism by Filipinos.\u003c/p>\n\u003cp>This year, a 30-foot tall gateway arch was unveiled in Los Angeles’ Historic Filipinotown and a street in New York City’s Queens was co-named Little Manila Avenue. A newly built San Jose park was named Delano Manongs Park for the Filipino American farmworkers who worked alongside Cesar Chavez to organize the Delano grape strike between 1965 and 1970. \u003c/p>\n\u003cp>\u003cem>Easter Sunday\u003c/em> is coming during “this really amazing moment in Asian American history and Filipino American history, where political, social, and economic capital has all come together,” said Eric Pido, an Asian American Studies professor at San Francisco State University with a background in Filipina/o American Studies. He predicts younger generations will raise Filipinos’ profiles in the next few years.\u003c/p>\n\u003cp>“I think Filipino Americans are no longer shying away from sort of taking a representational role in American politics, which will bring up all sorts of interesting things about Filipino American culture that lots of folks just don’t think about,” Pido said.\u003c/p>\n\u003cp>Last month, Koy and Cheng attended a screening of \u003cem>Easter Sunday\u003c/em> in Daly City. Among the attendees was the director of Pixar’s \u003cem>Turning Red\u003c/em>, Domee Shi. That animated film, about a Chinese Canadian teenage girl and her family, was a hit after its March release on Disney+. But a white film reviewer called the animated feature exhausting and only relatable for Shi’s Chinese family and friends. The review was later pulled over accusations of racism.\u003c/p>\n\u003cp>The idea that stories that focus on Asian characters and cultures are too specific to be appealing is just outdated, Koy said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The relationship between a mother and son is the same no matter what ethnicity,” Koy said. “I hate ignorant people that don’t move forward… There’s a lot of people that live in this country that need to be heard and it’s time to hear it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a comedy, Jo Koy’s new movie \u003cem>Easter Sunday\u003c/em> had a lot of waterworks.\u003c/p>\n\u003cp>The film was no ordinary job for the comedian and the rest of the cast. The magnitude of being on a mostly Filipino set led to happy cry-fests, Koy said. Emotions really hit when co-star Tia Carrere pointed out this was her first time playing a Filipino character in her 40-year career.\u003c/p>\n\u003cp>“To be able to be right there in a scene with five other Filipino actors and just doing a scene about a family… She never saw that before,” Koy, 51, told The Associated Press. “We all just kind of like teared up and just celebrated together because it’s like ‘OK, this is going to be one of many moments up here.’”\u003c/p>\n\u003cp>Koy, who is half Filipino and half white, is making his feature film debut in a movie largely inspired by the material from his Netflix stand-up specials. DreamWorks/Universal is touting \u003cem>Easter Sunday\u003c/em>, which opened in theaters Aug. 5, as the first big studio movie with an all-Filipino ensemble. Koy plays Joe Valencia, a comic and aspiring actor who goes home to Daly City for the titular holiday. He attempts to bond with his teenage son while dealing with well-meaning but overbearing relatives. The production comes at a time when Filipino American food, history and advocacy are increasingly emerging into the zeitgeist.\u003c/p>\n\u003cp>“Finally our stories, our faces are front and center on the big screen,” said Carrere, 55, and known for movies like \u003ci>Wayne’s World\u003c/i>, \u003ci>True Lies\u003c/i> and \u003ci>Lilo & Stitch\u003c/i>. “I have to pinch myself that I’m still here, still in the business and invited to the party.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jimmy O. Yang (\u003cem>Crazy Rich Asians\u003c/em>, \u003cem>Love Hard\u003c/em>), who has a cameo in \u003cem>Easter Sunday\u003c/em>, also served as a producer. That meant watching many, many audition tapes of actors of Filipino or Asian descent. Yang was blown away by the talent. It made casting 10 roles that much tougher. He thinks Hollywood claims that capable Asian actors are hard to find are just lazy excuses.\u003c/p>\n\u003cp>“As an actor, I’m like all of these guys are so good. How did I ever get a job?” Yang said. “Some of them I wanted to call them and be like ‘Hey, man! Please keep going OK? We just couldn’t hire you for this job but please keep going.’”\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/YIixb42aJPg'\n title='//www.youtube.com/embed/YIixb42aJPg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Easter Sunday\u003c/em>, directed by Jay Chandrasekhar, is set in the heavily Filipino suburb of Daly City where screenwriter Ken Cheng immigrated to as a kid. He envisioned a mix of Ice Cube’s \u003cem>Friday\u003c/em> and the holiday flick \u003cem>It’s a Wonderful Life\u003c/em>. A producer, too, Cheng wrote it in 2020 during lockdown. He then turned to Steven Spielberg, whose Amblin Partners is co-producing. Within a few hours the legendary director read it and gave his approval, according to Cheng.\u003c/p>\n\u003cp>“From that day to the first day we started shooting was something like five and a half months. And that’s like insanely fast,” Cheng said. “A lot of that is how enthusiastic everyone was about building a movie around Jo.”\u003c/p>\n\u003cp>Hollywood is populated with notable half-Filipino actors like Vanessa Hudgens and Darren Criss. But Koy is the one leaning into his heritage in his work. For example, he wanted a scene in \u003cem>Easter Sunday\u003c/em> showing the family packing customary balikbayan boxes. Filipinos, usually first-generation immigrants, typically send boxes with American goods to relatives in the Philippines. Mailing balikbayan boxes is practically its own industry.\u003c/p>\n\u003cp>“There’s this responsibility that they put on their shoulders when they make it to this country,” Koy said. “I see that with a lot of Filipino families and I wanted to show the world that’s how important this is to us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, Filipinos make up over 4 million of the country’s 23 million-plus Asian population, according to the U.S. Census. Filipino culture and history have been gaining more mainstream visibility in recent years—mostly because of decades-long activism by Filipinos.\u003c/p>\n\u003cp>This year, a 30-foot tall gateway arch was unveiled in Los Angeles’ Historic Filipinotown and a street in New York City’s Queens was co-named Little Manila Avenue. A newly built San Jose park was named Delano Manongs Park for the Filipino American farmworkers who worked alongside Cesar Chavez to organize the Delano grape strike between 1965 and 1970. \u003c/p>\n\u003cp>\u003cem>Easter Sunday\u003c/em> is coming during “this really amazing moment in Asian American history and Filipino American history, where political, social, and economic capital has all come together,” said Eric Pido, an Asian American Studies professor at San Francisco State University with a background in Filipina/o American Studies. He predicts younger generations will raise Filipinos’ profiles in the next few years.\u003c/p>\n\u003cp>“I think Filipino Americans are no longer shying away from sort of taking a representational role in American politics, which will bring up all sorts of interesting things about Filipino American culture that lots of folks just don’t think about,” Pido said.\u003c/p>\n\u003cp>Last month, Koy and Cheng attended a screening of \u003cem>Easter Sunday\u003c/em> in Daly City. Among the attendees was the director of Pixar’s \u003cem>Turning Red\u003c/em>, Domee Shi. That animated film, about a Chinese Canadian teenage girl and her family, was a hit after its March release on Disney+. But a white film reviewer called the animated feature exhausting and only relatable for Shi’s Chinese family and friends. The review was later pulled over accusations of racism.\u003c/p>\n\u003cp>The idea that stories that focus on Asian characters and cultures are too specific to be appealing is just outdated, Koy said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The relationship between a mother and son is the same no matter what ethnicity,” Koy said. “I hate ignorant people that don’t move forward… There’s a lot of people that live in this country that need to be heard and it’s time to hear it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Everybody’s Favorite 24-Hour Filipino Bakery Has Finally Reopened",
"headTitle": "Everybody’s Favorite 24-Hour Filipino Bakery Has Finally Reopened | KQED",
"content": "\u003cp>There isn’t any place quite like \u003ca href=\"https://www.instagram.com/lingnamstarbread/\">Ling Nam Starbread\u003c/a>. For the three decades that the Filipino restaurant-bakery held court at its strip mall location near the border of South San Francisco and Daly City, it was everybody’s favorite late-night pit stop—a place where night owls and early risers could stop in for a bowl of noodles or hot rice porridge or, especially, a box of the pillowy, piping hot deliciousness known as señorita bread. On Fridays and Saturdays, the bakery was open 24 hours, making it a popular first stop for hungry travelers stumbling off a late-arriving flight at SFO.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/B_IzSODpXga/\">Until last April\u003c/a>, that is, when the restaurant-bakery closed its doors with promises to reopen soon at a new location just a mile up the hill. Naturally, COVID put a wrench on those plans, and so the business stayed closed until just last Friday, when the new Ling Nam Starbread storefront at 980 King Drive in Daly City finally opened—a cause for celebration within the area’s vibrant Filipino American community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13896069,arts_13895488' label='More From KQED Food']\u003c/span>“We had an overwhelming turnout,” says Alexson Lim, who runs the restaurant along with his father Tony Lim and his brother Brandon Lim, noting the long lines they had through much of the weekend. Late-night customers will need to wait a little longer: For the time being, the bakery is keeping reduced hours, closing up shop at 9pm each night.\u003c/p>\n\u003cp>For those who haven’t yet had the pleasure, Starbread is best known for its señorita bread, a kind of sweet, yeasty roll that’s layered with sugar and melted margarine and—this is key—is always boxed up hot right out of the oven.\u003c/p>\n\u003cfigure id=\"attachment_13896140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg\" alt=\"A hand holding up a piece of bread in front of a sign with the Starbread logo. of se\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sweet, buttery insides of the señorita bread. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://sanfran.com/senorita-bread-carb-addiction-waiting-happen\">bread has made Starbread a local icon\u003c/a>. For Filipino families in particular, boxes of hot señorita bread are a staple at almost any big family gathering or celebration, and the chain has a strong cult following among non-Filipinos as well. The bakery has at least a dozen locations spread across Northern California, almost all of which boast long lines from morning to night. But none of the other Starbread locations were late-night destinations the way the Ling Nam combo shop was. And none of them were located in Daly City, which boasts the \u003ca href=\"https://www.foundsf.org/index.php?title=DALY_CITY:_THE_NEW_FILIPINOTOWN#:~:text=At%2027%20percent%20of%20the,of%20Metro%20Manila's%20Quezon%20City.\">highest concentration of Filipinos in the U.S.\u003c/a> (The closest other Starbread shop is in Pacifica.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='bayareabites_133626' label='More Filipino Eats']\u003c/span>The fact that the restaurant and bakery closed last April, just weeks after the initial shelter-in-place order, was mostly a matter of coincidence, Lim explains. The restaurant’s 30-year lease had just expired, and the entire lot was sold. (It’s now being turned into a \u003ca href=\"https://www.smdailyjournal.com/news/local/mercedes-benz-rolls-into-south-san-francisco/article_d167b2b6-c001-11ea-9328-1bd1e3bff343.html\">Mercedes-Benz dealership\u003c/a>.) Even though the Lims were able to secure a new location right away, it was a former dentist’s office that required a full build-out—a process that dragged out for almost a full year due to pandemic-related construction and permitting delays.\u003c/p>\n\u003cp>Even before it added the Starbread kiosk to the front of the restaurant in 2009, Ling Nam Noodle Shop was a local institution going on two decades. The restaurant specialized in Chinese-Filipino cuisine, which is to say Chinese dishes like wonton noodles, steamed buns, and rice porridge that were made to cater to Filipino tastes. For families like the Lims—ethnic Chinese who had settled in the Philippines—these were deeply nostalgic dishes. As Lim explains, they were dishes that made first-generation Filipino immigrants who frequented the restaurant say, “That’s home.”\u003c/p>\n\u003cfigure id=\"attachment_13896143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg\" alt=\"The Starbread menu, with señorita bread priced at 10 pieces for $5, 20 pieces for $10, etc.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The menu. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the time being, however, only the bakery is open. The Ling Nam part of the business, now located in a separate storefront next door, is still under construction and will likely open in the early summer, Lim says. (There’s also a second Ling Nam Starbread location, in Tracy, that’s owned by the Lims—but there, too, the bakery is the only part of the business that’s stayed open.)\u003c/p>\n\u003cp>These days, of course, the Starbread is probably the biggest draw anyway—especially since it was the only place in the Bay Area where the bleary-eyed could score a batch of hot señorita bread at, say, 3am on a Saturday night. Eventually, once nightlife and air travel (including late-night travel) go back to pre-pandemic levels, Lim expects to once again resume that 24-hour weekend schedule.\u003c/p>\n\u003cp>“Why not?” he says. “It’s what we’re known for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ling Nam Starbread is open at its new location at 980 King Drive in Daly City from 5:30am–9pm daily. For now, only the bakery storefront is open.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Ling Nam Starbread is once again selling hot señorita bread at its new Daly City storefront—with reduced hours for now.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There isn’t any place quite like \u003ca href=\"https://www.instagram.com/lingnamstarbread/\">Ling Nam Starbread\u003c/a>. For the three decades that the Filipino restaurant-bakery held court at its strip mall location near the border of South San Francisco and Daly City, it was everybody’s favorite late-night pit stop—a place where night owls and early risers could stop in for a bowl of noodles or hot rice porridge or, especially, a box of the pillowy, piping hot deliciousness known as señorita bread. On Fridays and Saturdays, the bakery was open 24 hours, making it a popular first stop for hungry travelers stumbling off a late-arriving flight at SFO.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/B_IzSODpXga/\">Until last April\u003c/a>, that is, when the restaurant-bakery closed its doors with promises to reopen soon at a new location just a mile up the hill. Naturally, COVID put a wrench on those plans, and so the business stayed closed until just last Friday, when the new Ling Nam Starbread storefront at 980 King Drive in Daly City finally opened—a cause for celebration within the area’s vibrant Filipino American community.\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>“We had an overwhelming turnout,” says Alexson Lim, who runs the restaurant along with his father Tony Lim and his brother Brandon Lim, noting the long lines they had through much of the weekend. Late-night customers will need to wait a little longer: For the time being, the bakery is keeping reduced hours, closing up shop at 9pm each night.\u003c/p>\n\u003cp>For those who haven’t yet had the pleasure, Starbread is best known for its señorita bread, a kind of sweet, yeasty roll that’s layered with sugar and melted margarine and—this is key—is always boxed up hot right out of the oven.\u003c/p>\n\u003cfigure id=\"attachment_13896140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg\" alt=\"A hand holding up a piece of bread in front of a sign with the Starbread logo. of se\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sweet, buttery insides of the señorita bread. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://sanfran.com/senorita-bread-carb-addiction-waiting-happen\">bread has made Starbread a local icon\u003c/a>. For Filipino families in particular, boxes of hot señorita bread are a staple at almost any big family gathering or celebration, and the chain has a strong cult following among non-Filipinos as well. The bakery has at least a dozen locations spread across Northern California, almost all of which boast long lines from morning to night. But none of the other Starbread locations were late-night destinations the way the Ling Nam combo shop was. And none of them were located in Daly City, which boasts the \u003ca href=\"https://www.foundsf.org/index.php?title=DALY_CITY:_THE_NEW_FILIPINOTOWN#:~:text=At%2027%20percent%20of%20the,of%20Metro%20Manila's%20Quezon%20City.\">highest concentration of Filipinos in the U.S.\u003c/a> (The closest other Starbread shop is in Pacifica.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>The fact that the restaurant and bakery closed last April, just weeks after the initial shelter-in-place order, was mostly a matter of coincidence, Lim explains. The restaurant’s 30-year lease had just expired, and the entire lot was sold. (It’s now being turned into a \u003ca href=\"https://www.smdailyjournal.com/news/local/mercedes-benz-rolls-into-south-san-francisco/article_d167b2b6-c001-11ea-9328-1bd1e3bff343.html\">Mercedes-Benz dealership\u003c/a>.) Even though the Lims were able to secure a new location right away, it was a former dentist’s office that required a full build-out—a process that dragged out for almost a full year due to pandemic-related construction and permitting delays.\u003c/p>\n\u003cp>Even before it added the Starbread kiosk to the front of the restaurant in 2009, Ling Nam Noodle Shop was a local institution going on two decades. The restaurant specialized in Chinese-Filipino cuisine, which is to say Chinese dishes like wonton noodles, steamed buns, and rice porridge that were made to cater to Filipino tastes. For families like the Lims—ethnic Chinese who had settled in the Philippines—these were deeply nostalgic dishes. As Lim explains, they were dishes that made first-generation Filipino immigrants who frequented the restaurant say, “That’s home.”\u003c/p>\n\u003cfigure id=\"attachment_13896143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg\" alt=\"The Starbread menu, with señorita bread priced at 10 pieces for $5, 20 pieces for $10, etc.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The menu. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the time being, however, only the bakery is open. The Ling Nam part of the business, now located in a separate storefront next door, is still under construction and will likely open in the early summer, Lim says. (There’s also a second Ling Nam Starbread location, in Tracy, that’s owned by the Lims—but there, too, the bakery is the only part of the business that’s stayed open.)\u003c/p>\n\u003cp>These days, of course, the Starbread is probably the biggest draw anyway—especially since it was the only place in the Bay Area where the bleary-eyed could score a batch of hot señorita bread at, say, 3am on a Saturday night. Eventually, once nightlife and air travel (including late-night travel) go back to pre-pandemic levels, Lim expects to once again resume that 24-hour weekend schedule.\u003c/p>\n\u003cp>“Why not?” he says. “It’s what we’re known for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ling Nam Starbread is open at its new location at 980 King Drive in Daly City from 5:30am–9pm daily. For now, only the bakery storefront is open.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "after-city-wide-kidnap-drama-maki-the-ring-tailed-lemur-is-home-at-the-zoo",
"title": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo",
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"headTitle": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo | KQED",
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"content": "\u003cp>It all started on Wednesday afternoon, when it was announced that a ring-tailed lemur named Maki had been stolen from the Lipman Family Lemur Forest at San Francisco Zoo by unknown intruders. Police, eager to get him home safely, quickly asked the public for help.\u003c/p>\n\u003cp>https://twitter.com/SFPD/status/1316517038328672256\u003c/p>\n\u003cp>Details trickled out slowly: Maki is 21, was born in the zoo and has at least one child. He has cute little white ears, chestnut eyes, and a squiffy little face. Police believe he was singled out from the other lemurs because he was “\u003ca href=\"https://twitter.com/NBCian/status/1316610404211027968\" target=\"_blank\" rel=\"noopener noreferrer\">the slowest of the troop\u003c/a>” and therefore, the “\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/10/15/update-san-francisco-zoo-offers-reward-stolen-lemur-maki-sfpd/\" target=\"_blank\" rel=\"noopener noreferrer\">easiest to capture\u003c/a>.” (You \u003cem>have\u003c/em> to start working out, Maki!)\u003c/p>\n\u003cp>https://twitter.com/emmaruthless/status/1316915105171447809\u003c/p>\n\u003cp>On Twitter, a \u003ca href=\"https://twitter.com/SFZooLemur\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated Maki account\u003c/a> quickly popped up. Elsewhere on social media, rumors and conjecture started to circulate in earnest. Maki was \u003ca href=\"https://twitter.com/thmrit51/status/1316629781732118528\" target=\"_blank\" rel=\"noopener noreferrer\">drinking at a bar\u003c/a>, he was \u003ca href=\"https://twitter.com/periodpieces16/status/1316614829289795591\" target=\"_blank\" rel=\"noopener noreferrer\">for sale\u003c/a>, he was “\u003ca href=\"https://twitter.com/mikeagbeniyisr/status/1316651835696930816\" target=\"_blank\" rel=\"noopener noreferrer\">tired of lockdown\u003c/a>.” One person even accused him of \u003ca href=\"https://twitter.com/UCame2CaShow/status/1316556036610953216\" target=\"_blank\" rel=\"noopener noreferrer\">being a monkey\u003c/a>. (\u003cem>The nerve!\u003c/em>) One conspiracy theorist suggested it had been \u003ca href=\"https://twitter.com/bujheekom/status/1316543087435567106\" target=\"_blank\" rel=\"noopener noreferrer\">an inside job\u003c/a>. “Check every staff’s house, closet, garage, strt w zoo keeper,” \u003ca href=\"https://twitter.com/bujheekom\" target=\"_blank\" rel=\"noopener noreferrer\">@bujheekom\u003c/a> implored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emotions ran high as animal lovers across the city willed Maki’s safe return.\u003c/p>\n\u003cp>https://twitter.com/ksimerly/status/1316957469436989440\u003c/p>\n\u003cp>Others tried to discourage the thieves from keeping Maki by shaming them, cursing humanity, and offering practical information about lemurs being “stinky.”\u003c/p>\n\u003cp>https://twitter.com/colazioneAroma/status/1316946507057287168\u003c/p>\n\u003cp>Twenty-four hours into the search for Maki, the San Francisco Zoo offered a $2,100 reward for the safe return of their lemur, along with a photo of his tiny food-covered face being totes adorbs.\u003c/p>\n\u003cp>https://twitter.com/sfzoo/status/1316848485333827584\u003c/p>\n\u003cp>Zoos as far-flung as Wichita, Kansas felt San Francisco Zoo’s pain and sent best wishes:\u003c/p>\n\u003cp>https://twitter.com/SedgwickCoZoo/status/1316854077020663812\u003c/p>\n\u003cp>Then finally, on Thursday afternoon, the news we had all been waiting for! Sam Trinh \u003ca href=\"https://twitter.com/TrinnerChknDnnr/status/1316950320996638720\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that his wife and 5-year-old son James had spotted Maki as they left the day care center at Hope Lutheran Church in Daly City, at around 5pm.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888059 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png\" alt=\"\" width=\"604\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM-160x181.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/p>\n\u003cp>The news was quickly confirmed by the church’s pastor (the first trans pastor to be ordained in the Lutheran church, no less!), Rev. Megan Rohrer.\u003c/p>\n\u003cp>https://twitter.com/mmrohrer/status/1316986664514809861\u003c/p>\n\u003cp>Maki went quietly, judging by this footage:\u003c/p>\n\u003cp>https://twitter.com/NBCian/status/1316955554712068099\u003c/p>\n\u003cp>The Daly City police were evidently pleased with their collar.\u003c/p>\n\u003cp>https://twitter.com/DalyCityPD/status/1316940964552998914\u003c/p>\n\u003cp>Maki is now back in the zoo, resting his slow, stripy butt after his big adventure. No word yet on any at-large suspects, or where that reward is going, but \u003ca href=\"https://twitter.com/cristella100/status/1316953270900895745\" target=\"_blank\" rel=\"noopener noreferrer\">some folks\u003c/a> are suggesting it should go to 5-year-old hero James Trinh.\u003c/p>\n\u003cp>For more on the weird stuff that ring-tailed lemurs get up to when they’re not on the run, here’s a handy video.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jcjDrE1ye-E\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Go back to sheltering in place, Maki!\u003c/p>\n\n",
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"excerpt": "San Francisco Zoo lost the male lemur in a burglary this week, causing a wave of emotional turmoil across the city. ",
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"title": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo | KQED",
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"headline": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started on Wednesday afternoon, when it was announced that a ring-tailed lemur named Maki had been stolen from the Lipman Family Lemur Forest at San Francisco Zoo by unknown intruders. Police, eager to get him home safely, quickly asked the public for help.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Details trickled out slowly: Maki is 21, was born in the zoo and has at least one child. He has cute little white ears, chestnut eyes, and a squiffy little face. Police believe he was singled out from the other lemurs because he was “\u003ca href=\"https://twitter.com/NBCian/status/1316610404211027968\" target=\"_blank\" rel=\"noopener noreferrer\">the slowest of the troop\u003c/a>” and therefore, the “\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/10/15/update-san-francisco-zoo-offers-reward-stolen-lemur-maki-sfpd/\" target=\"_blank\" rel=\"noopener noreferrer\">easiest to capture\u003c/a>.” (You \u003cem>have\u003c/em> to start working out, Maki!)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Twitter, a \u003ca href=\"https://twitter.com/SFZooLemur\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated Maki account\u003c/a> quickly popped up. Elsewhere on social media, rumors and conjecture started to circulate in earnest. Maki was \u003ca href=\"https://twitter.com/thmrit51/status/1316629781732118528\" target=\"_blank\" rel=\"noopener noreferrer\">drinking at a bar\u003c/a>, he was \u003ca href=\"https://twitter.com/periodpieces16/status/1316614829289795591\" target=\"_blank\" rel=\"noopener noreferrer\">for sale\u003c/a>, he was “\u003ca href=\"https://twitter.com/mikeagbeniyisr/status/1316651835696930816\" target=\"_blank\" rel=\"noopener noreferrer\">tired of lockdown\u003c/a>.” One person even accused him of \u003ca href=\"https://twitter.com/UCame2CaShow/status/1316556036610953216\" target=\"_blank\" rel=\"noopener noreferrer\">being a monkey\u003c/a>. (\u003cem>The nerve!\u003c/em>) One conspiracy theorist suggested it had been \u003ca href=\"https://twitter.com/bujheekom/status/1316543087435567106\" target=\"_blank\" rel=\"noopener noreferrer\">an inside job\u003c/a>. “Check every staff’s house, closet, garage, strt w zoo keeper,” \u003ca href=\"https://twitter.com/bujheekom\" target=\"_blank\" rel=\"noopener noreferrer\">@bujheekom\u003c/a> implored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emotions ran high as animal lovers across the city willed Maki’s safe return.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Others tried to discourage the thieves from keeping Maki by shaming them, cursing humanity, and offering practical information about lemurs being “stinky.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twenty-four hours into the search for Maki, the San Francisco Zoo offered a $2,100 reward for the safe return of their lemur, along with a photo of his tiny food-covered face being totes adorbs.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Zoos as far-flung as Wichita, Kansas felt San Francisco Zoo’s pain and sent best wishes:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then finally, on Thursday afternoon, the news we had all been waiting for! Sam Trinh \u003ca href=\"https://twitter.com/TrinnerChknDnnr/status/1316950320996638720\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that his wife and 5-year-old son James had spotted Maki as they left the day care center at Hope Lutheran Church in Daly City, at around 5pm.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888059 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png\" alt=\"\" width=\"604\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM-160x181.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/p>\n\u003cp>The news was quickly confirmed by the church’s pastor (the first trans pastor to be ordained in the Lutheran church, no less!), Rev. Megan Rohrer.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Maki went quietly, judging by this footage:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Daly City police were evidently pleased with their collar.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Maki is now back in the zoo, resting his slow, stripy butt after his big adventure. No word yet on any at-large suspects, or where that reward is going, but \u003ca href=\"https://twitter.com/cristella100/status/1316953270900895745\" target=\"_blank\" rel=\"noopener noreferrer\">some folks\u003c/a> are suggesting it should go to 5-year-old hero James Trinh.\u003c/p>\n\u003cp>For more on the weird stuff that ring-tailed lemurs get up to when they’re not on the run, here’s a handy video.\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/jcjDrE1ye-E'\n title='//www.youtube.com/embed/jcjDrE1ye-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Go back to sheltering in place, Maki!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Music, Cars and Don't Forget the Hair: Eugene Kim's 'Cherry' Channels 90s Daly City",
"headTitle": "Music, Cars and Don’t Forget the Hair: Eugene Kim’s ‘Cherry’ Channels 90s Daly City | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Eugene Kim put his filmmaking career on hold to help his parents achieve financial stability, he didn’t know if he’d ever make it back to the career of his dreams. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The dream kept getting further and further away,” he remembers. But eight years later, he owns three San Francisco coffee shops. And a little voice in his head told him it was time to get back into filmmaking.\u003c/span>\u003cspan style=\"font-weight: 400\"> (\u003ca href=\"https://www.hbovisionaries.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s Asian Pacific American Visionaries short film competition,\u003c/a> and its submission deadline, didn’t hurt his motivation either.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the help of a small crew of film school friends from San Jose State, Kim just wrapped shooting his short film, \u003ca href=\"https://www.instagram.com/cherrythemovie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cherry\u003c/em>\u003c/a>, the story of an R&B artist coming up in 1990s Daly City. It’s a script pulled from Kim’s own memories of growing up on the peninsula in that very scene, where \u003ca href=\"https://www.kqed.org/arts/13812554/how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever\" target=\"_blank\" rel=\"noopener noreferrer\">Filipino DJs were pioneering a new style\u003c/a>, B-Boys competed at car shows and everyone knew they were part of a historic moment in music history.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There were so many Asian kids involved with different subcultures,” Kim says. He channeled those memories of music, hair, style and romances into one day in the life of Christian Flores, a singer trying to find the money to get his car out of the impound lot, and a girl named Cherry he meets along the way. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The thing that I’m most proud of with \u003cem>Cherry\u003c/em> is just the fact that we got it done,” Kim says. “We all promised to take time off and prioritize this project, that in itself felt like a victory.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Kim on the set of ‘Cherry’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest lesson he learned getting back into the filmmaking game? “There’s no time limit or an expiration date on your creativity.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED sat down with Kim to talk about growing up with a supportive family, not holding yourself to outdated timelines and learning from small stories. — \u003cem>Introductory Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in filmmaking?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like I’ve always had an imagination ever since I was a kid, and it’s just fun to tell stories. My parents were so open to us being creative and artistic, they let me feel like it was OK to pursue something like that. We spent a lot of time watching movies. My dad always had a camera. He filmed us growing up, especially me because I was the first child. And then my friends growing up used to skateboard and rollerblade, [and] make weird goofy films together. Finally I thought, “You could do that as a major in college.” \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you are able to create something and you continue doing so and you grow with each project. Let’s say I put out a project, and the next project, something’s better. Maybe it’s just cinematography. Maybe it’s the sound, maybe it’s the writing or the acting. As long as you’re progressing and getting better with each project and learning something from your previous project, I feel like that’s success. Some projects you might not find any success [with], but being able to pick yourself up and say, “Hey, onto the next project.” We have to keep working towards becoming better storytellers or filmmakers. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What’s something you wish you could say to your younger self?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s no need to rush. There’s no time limit or an expiration date on when your creativity stops. When I was younger, I felt like I put all these limitations on myself. As long as you’re creating something that you’re happy with there’s no point to stopping. If you’re in it because you like to create stuff with your friends and just put out cool stuff, there’s really no limit to [creativity].\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising to other people?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like a source of inspiration for me is my friends and family. The older I get, the more I realize how important it is to have people that surround me, that support me. Building a strong support system has been huge for me. Overall I’m just inspired by real people—the stories that I’ve heard from the people in my life. [It’s the] little things that you learn through life that inspire you and give you ideas for stories and characters.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What does the future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’d like to see more stories about different people, different ethnicities, different races. I feel like we’re going to start realizing that lead male or female doesn’t have to look like a supermodel. I feel like we’re going to see more and more stories that we can all relate to as people—at least that’s what I’d like to see. And I feel like it’s starting to happen. But, I think we’re going to start seeing a lot more from people in terms of small stories, small things that we can all grow from, the stories that are going to educate us a little more and teach us about different types of people [from] different backgrounds.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Eugene Kim put his filmmaking career on hold to help his parents achieve financial stability, he didn’t know if he’d ever make it back to the career of his dreams. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The dream kept getting further and further away,” he remembers. But eight years later, he owns three San Francisco coffee shops. And a little voice in his head told him it was time to get back into filmmaking.\u003c/span>\u003cspan style=\"font-weight: 400\"> (\u003ca href=\"https://www.hbovisionaries.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s Asian Pacific American Visionaries short film competition,\u003c/a> and its submission deadline, didn’t hurt his motivation either.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the help of a small crew of film school friends from San Jose State, Kim just wrapped shooting his short film, \u003ca href=\"https://www.instagram.com/cherrythemovie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cherry\u003c/em>\u003c/a>, the story of an R&B artist coming up in 1990s Daly City. It’s a script pulled from Kim’s own memories of growing up on the peninsula in that very scene, where \u003ca href=\"https://www.kqed.org/arts/13812554/how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever\" target=\"_blank\" rel=\"noopener noreferrer\">Filipino DJs were pioneering a new style\u003c/a>, B-Boys competed at car shows and everyone knew they were part of a historic moment in music history.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There were so many Asian kids involved with different subcultures,” Kim says. He channeled those memories of music, hair, style and romances into one day in the life of Christian Flores, a singer trying to find the money to get his car out of the impound lot, and a girl named Cherry he meets along the way. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The thing that I’m most proud of with \u003cem>Cherry\u003c/em> is just the fact that we got it done,” Kim says. “We all promised to take time off and prioritize this project, that in itself felt like a victory.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Kim on the set of ‘Cherry’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest lesson he learned getting back into the filmmaking game? “There’s no time limit or an expiration date on your creativity.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED sat down with Kim to talk about growing up with a supportive family, not holding yourself to outdated timelines and learning from small stories. — \u003cem>Introductory Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in filmmaking?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like I’ve always had an imagination ever since I was a kid, and it’s just fun to tell stories. My parents were so open to us being creative and artistic, they let me feel like it was OK to pursue something like that. We spent a lot of time watching movies. My dad always had a camera. He filmed us growing up, especially me because I was the first child. And then my friends growing up used to skateboard and rollerblade, [and] make weird goofy films together. Finally I thought, “You could do that as a major in college.” \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you are able to create something and you continue doing so and you grow with each project. Let’s say I put out a project, and the next project, something’s better. Maybe it’s just cinematography. Maybe it’s the sound, maybe it’s the writing or the acting. As long as you’re progressing and getting better with each project and learning something from your previous project, I feel like that’s success. Some projects you might not find any success [with], but being able to pick yourself up and say, “Hey, onto the next project.” We have to keep working towards becoming better storytellers or filmmakers. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What’s something you wish you could say to your younger self?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s no need to rush. There’s no time limit or an expiration date on when your creativity stops. When I was younger, I felt like I put all these limitations on myself. As long as you’re creating something that you’re happy with there’s no point to stopping. If you’re in it because you like to create stuff with your friends and just put out cool stuff, there’s really no limit to [creativity].\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising to other people?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like a source of inspiration for me is my friends and family. The older I get, the more I realize how important it is to have people that surround me, that support me. Building a strong support system has been huge for me. Overall I’m just inspired by real people—the stories that I’ve heard from the people in my life. [It’s the] little things that you learn through life that inspire you and give you ideas for stories and characters.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What does the future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’d like to see more stories about different people, different ethnicities, different races. I feel like we’re going to start realizing that lead male or female doesn’t have to look like a supermodel. I feel like we’re going to see more and more stories that we can all relate to as people—at least that’s what I’d like to see. And I feel like it’s starting to happen. But, I think we’re going to start seeing a lot more from people in terms of small stories, small things that we can all grow from, the stories that are going to educate us a little more and teach us about different types of people [from] different backgrounds.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever",
"title": "How Daly City's Filipino Mobile DJ Scene Changed Hip-Hop Forever",
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"content": "\u003cp>Apollo Novicio, Ken Anolin and Dino Rivera weren’t trying to change the world. Growing up in Daly City in the 1980s, they just wanted to rock parties for their friends, families and fellow Filipinos. Hauling mobile DJ setups from houses to garages to church auditoriums, the two were part of a booming scene of DJ crews and dancers who created their own subculture in a mostly forgotten corner of the Bay Area while grandma cooked the rice and adobo.\u003c/p>\n\u003cp>Fast-forward to the present day, and the \u003ca href=\"https://ww2.kqed.org/arts/2015/06/19/top-5-tracks-born-from-the-bay-areas-filipino-mobile-dj-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">turntable innovations of people like DJ Qbert, Mix Master Mike and others\u003c/a> who sprung from Daly City’s mobile DJ scene are felt everywhere in hip-hop and beyond — whether in pure technical scratch wizardry, the off-kilter production styles of J. Dilla and Madlib, or the prominence of the turntable as an individual instrument. Inspired by Oliver Wang’s essential history \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a>, KQED recently sat down with Novicio, Anolin and Rivera for a look into the roots of their musical revolution. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H-XxMAoaiLM&list=PLDGuz5lFaZAAUWMT3zYMTcoMr6WQcFMMR&index=2\u003c/p>\n\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=it-1CE3aDjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0AkeAoHigis\u003c/p>\n\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n[vimeo 12886475 w=500 h=331]\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XflfiylNNXY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\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/XflfiylNNXY'\n title='//www.youtube.com/embed/XflfiylNNXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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