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"content": "\u003cp>In a reception celebrated with sake and handmade onigiri, the San Francisco gallery Glass Rice opened \u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>, a duo presentation of work by Maya Fuji and Shingo Yamazaki, in late October. The exhibition features delicate paintings by each artist, in addition to an immersive VR recreation of Fuji’s grandmother’s house in Kanazawa, Japan.\u003c/p>\n\u003cp>\u003ci>Osato/Quiet Conversations\u003c/i> represents a soft gaze inward and backwards in search of home, or “osato,” the Japanese term for a person’s hometown or upbringing. In the exhibition, Fuji and Yamazaki both explore the remaking of memories held within familial spaces. Mundane objects like house slippers, Pokémon cards and tissue boxes act as quiet elements that both evoke memory and give it texture.\u003c/p>\n\u003cp>Fuji, for instance, uses family oral history, photographs and home videos to create new moments within her grandmother’s house. Meanwhile, Yamazaki, who was born and raised in Honolulu, paints quiet indoor scenes entwined with distinctly Hawaiian motifs. As a second-generation Japanese and Korean American “without full access to his Zainichi (Koreans living in Japan) lineage,” as stated in the exhibition’s press release, he renegotiates feelings of longing and a fragmented sense of belonging through visually complicated glimpses into “home.”\u003c/p>\n\u003cp>Both artists quietly interweave artifacts of growing up as mixed-race Asians in America into their work, gesturing towards the intimacy of interior spaces. Through these cultural references, Fuji and Yamazaki call upon the ability of mundane objects to elicit a viewer’s memories, making those experiences integral to the meaning-making of the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13983583\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg\" alt=\"Painting: A hand holds a marble taken from a Japanese soda bottle on the floor below.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Finally Mine,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Fuji’s painting, \u003ci>Marble of My Eye\u003c/i>, soft hands cradle a precious glass ball from within a Ramune Japanese soda bottle, reminding me of my own childhood memories of trying to get that ball out of the bottle with my brother. In Yamazaki’s \u003ci>Front of House\u003c/i> — a double meaning, as the depicted space functions as both his family’s restaurant and home — Yamazaki renders a distinct still from \u003ci>Sailor Moon\u003c/i> on a TV set, juxtaposing that with a vanitas-style arrangement of hurriedly written notes cluttered around a cash register.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the opening, the exhibition sparked so many conversations about shared memories of watching shows like \u003ci>Sailor Moon\u003c/i> and \u003ci>Pokémon\u003c/i>. “A lot of the things they reference in their paintings from when we were growing up in the ’90s and early 2000s hits really close to home for me too,” says Glass Rice director Cecilia Chia. “I really love these layers and meanings of home as what kind of defines your character.”\u003c/p>\n\u003cp>A beaded red curtain in the back of the gallery marks the threshold to Fuji’s virtual world. In this VR environment, created in Fuji’s signature style (developed in partnership with VR developer Storm Griffith), viewers navigate the quiet Kanazawa countryside home of the artist’s grandmother depicted in so many of the paintings on view.\u003c/p>\n\u003cp>[aside postID='arts_13981726']Visitors can virtually move through the house and pick up the objects that fill the space — like plates of steamed buns or maneki neko Lucky Cat figurines — and overhear the familiar sounds of family chatter, a home video and the gentle hum of a Kanazawa street.\u003c/p>\n\u003cp>Going through the virtual house, I could almost imagine myself embodied as one of the soft, sensual, almost divine feminine figures that are signature to Fuji’s work, like the central figures in pieces like \u003ci>Listening・聞き耳\u003c/i>, her largest painting on view. By activating Fuji’s paintings in an immersive virtual space, memory becomes something that is alive, awake and even playful.\u003c/p>\n\u003cfigure id=\"attachment_13983585\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg\" alt=\"Painting: Inside a traditional Japanese room, two nude Asian women. One cleans the ears of the other with a pick while her companion reclines in her lap.\" width=\"2000\" height=\"1176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-1536x903.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Listening・聞き耳,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Home is what we make of it. In the end, \u003ci>Osato/Quiet Conversations\u003c/i> comes to no distinct answers about home, belonging or what it means to represent those things. Fuji and Yamazaki never represent feelings of cultural in-betweenness as “half” or otherwise un-whole. Instead, their paintings create generative representations of hybridity and overlap, whether that be through Yamazaki’s obscuring hazy washes and translucent lines or Fuji’s playful fusing of contemporary and Y2K aesthetics with traditional Japanese objects and folklore.\u003c/p>\n\u003cp>Both artists reflect the hazy and disjointed nature of memory and family storytelling while also envisioning profound remakings of home. Fuji and Yamazaki leave room for multiple realities of home, whether it is fogged by the passing of time, sharply remembered in home videos, or made into myth by the artist’s own hand. For them, ‘osato’ is the foundation upon which we all must constantly renegotiate what belonging means to us.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003c/i>\u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>\u003ci>’ is on view through Dec. 6, 2025 at Glass Rice (808 Sutter St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a reception celebrated with sake and handmade onigiri, the San Francisco gallery Glass Rice opened \u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>, a duo presentation of work by Maya Fuji and Shingo Yamazaki, in late October. The exhibition features delicate paintings by each artist, in addition to an immersive VR recreation of Fuji’s grandmother’s house in Kanazawa, Japan.\u003c/p>\n\u003cp>\u003ci>Osato/Quiet Conversations\u003c/i> represents a soft gaze inward and backwards in search of home, or “osato,” the Japanese term for a person’s hometown or upbringing. In the exhibition, Fuji and Yamazaki both explore the remaking of memories held within familial spaces. Mundane objects like house slippers, Pokémon cards and tissue boxes act as quiet elements that both evoke memory and give it texture.\u003c/p>\n\u003cp>Fuji, for instance, uses family oral history, photographs and home videos to create new moments within her grandmother’s house. Meanwhile, Yamazaki, who was born and raised in Honolulu, paints quiet indoor scenes entwined with distinctly Hawaiian motifs. As a second-generation Japanese and Korean American “without full access to his Zainichi (Koreans living in Japan) lineage,” as stated in the exhibition’s press release, he renegotiates feelings of longing and a fragmented sense of belonging through visually complicated glimpses into “home.”\u003c/p>\n\u003cp>Both artists quietly interweave artifacts of growing up as mixed-race Asians in America into their work, gesturing towards the intimacy of interior spaces. Through these cultural references, Fuji and Yamazaki call upon the ability of mundane objects to elicit a viewer’s memories, making those experiences integral to the meaning-making of the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13983583\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg\" alt=\"Painting: A hand holds a marble taken from a Japanese soda bottle on the floor below.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Finally Mine,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Fuji’s painting, \u003ci>Marble of My Eye\u003c/i>, soft hands cradle a precious glass ball from within a Ramune Japanese soda bottle, reminding me of my own childhood memories of trying to get that ball out of the bottle with my brother. In Yamazaki’s \u003ci>Front of House\u003c/i> — a double meaning, as the depicted space functions as both his family’s restaurant and home — Yamazaki renders a distinct still from \u003ci>Sailor Moon\u003c/i> on a TV set, juxtaposing that with a vanitas-style arrangement of hurriedly written notes cluttered around a cash register.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the opening, the exhibition sparked so many conversations about shared memories of watching shows like \u003ci>Sailor Moon\u003c/i> and \u003ci>Pokémon\u003c/i>. “A lot of the things they reference in their paintings from when we were growing up in the ’90s and early 2000s hits really close to home for me too,” says Glass Rice director Cecilia Chia. “I really love these layers and meanings of home as what kind of defines your character.”\u003c/p>\n\u003cp>A beaded red curtain in the back of the gallery marks the threshold to Fuji’s virtual world. In this VR environment, created in Fuji’s signature style (developed in partnership with VR developer Storm Griffith), viewers navigate the quiet Kanazawa countryside home of the artist’s grandmother depicted in so many of the paintings on view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Visitors can virtually move through the house and pick up the objects that fill the space — like plates of steamed buns or maneki neko Lucky Cat figurines — and overhear the familiar sounds of family chatter, a home video and the gentle hum of a Kanazawa street.\u003c/p>\n\u003cp>Going through the virtual house, I could almost imagine myself embodied as one of the soft, sensual, almost divine feminine figures that are signature to Fuji’s work, like the central figures in pieces like \u003ci>Listening・聞き耳\u003c/i>, her largest painting on view. By activating Fuji’s paintings in an immersive virtual space, memory becomes something that is alive, awake and even playful.\u003c/p>\n\u003cfigure id=\"attachment_13983585\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg\" alt=\"Painting: Inside a traditional Japanese room, two nude Asian women. One cleans the ears of the other with a pick while her companion reclines in her lap.\" width=\"2000\" height=\"1176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-1536x903.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Listening・聞き耳,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Home is what we make of it. In the end, \u003ci>Osato/Quiet Conversations\u003c/i> comes to no distinct answers about home, belonging or what it means to represent those things. Fuji and Yamazaki never represent feelings of cultural in-betweenness as “half” or otherwise un-whole. Instead, their paintings create generative representations of hybridity and overlap, whether that be through Yamazaki’s obscuring hazy washes and translucent lines or Fuji’s playful fusing of contemporary and Y2K aesthetics with traditional Japanese objects and folklore.\u003c/p>\n\u003cp>Both artists reflect the hazy and disjointed nature of memory and family storytelling while also envisioning profound remakings of home. Fuji and Yamazaki leave room for multiple realities of home, whether it is fogged by the passing of time, sharply remembered in home videos, or made into myth by the artist’s own hand. For them, ‘osato’ is the foundation upon which we all must constantly renegotiate what belonging means to us.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003c/i>\u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>\u003ci>’ is on view through Dec. 6, 2025 at Glass Rice (808 Sutter St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For multimedia artist David Horvitz, slurping noodles isn’t just a way of eating. The Los Angeles-based artist says that as a half-Japanese person, he sees it as part of his cultural heritage: In \u003ca href=\"https://www.kqed.org/arts/tag/japan\">Japan\u003c/a>, after all, slurping is widely understood to be the correct way to enjoy a bowl of noodles, and to show appreciation to the person who cooked them. Here in America, where slurping is considered bad table manners, Horvitz always wanted to teach his own daughters the pleasures of a proper slurp.\u003c/p>\n\u003cp>And so Horvitz turned noisy eating into part of his art practice. Or, to be specific, he and Bay Area chef Leif Hedendal will be putting on a kid-friendly experiential art show of sorts at the Berkeley Art Museum and Pacific Film Archive this Sunday entitled \u003ca href=\"https://bampfa.org/event/teach-your-children-slurp-noodles\">Teach Your Children to Slurp Noodles\u003c/a>. Hedendal will serve bowls of homemade udon, and the young participants will slurp those noodles while mic’d up to an amplifier, creating live noise performance — a sonic soundscape of slurping, if you will.\u003c/p>\n\u003cp>Reached by phone, Horvitz explains that the origin of the project was a \u003ca href=\"https://mocastore.org/products/1037032\">screen print\u003c/a> he created in 2023, also called \u003ci>Teach Your Children to Slurp Noodles\u003c/i>, for which he hand-wrote those words with actual udon noodles, let them dry, and then screen printed them onto Japanese washi paper. Later, he and five other Asian artist friends put on the first version of the live slurping performance at a \u003ca href=\"https://active-cultures.org/project/soup-tart-los-angeles/\">Museum of Contemporary Art (MOCA) event\u003c/a> in Little Tokyo in L.A. They ordered udon from a little Japanese diner called Suehiro Cafe, a couple blocks away. “We slurped [the noodles] with a microphone,” Horvitz recalls, “and my friend processed it live with an analog synth and made these crazy sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13976893\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976893\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-scaled.jpg\" alt='Screen print of squiggly letters made with udon noodles. The text reads, \"Teach Your Children to Slurp Noodles.\"' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Horvitz, ‘Teach Your Children to Slurp Noodles,’ 2023. \u003ccite>(Courtesy of David Horvitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13934852,arts_13935854']\u003c/span>\u003c/span>Now, recasting the event in Berkeley with a focus on kids, Horvitz mostly hopes the noodle-slurping extravaganza will be a lot of fun. But he also sees an educational component. For Japanese American kids like his own, it’s a matter of knowing their history and lineage — and knowing that they can stand up for themselves if, say, a classmate sees them slurping and tells them it’s weird. And for non-Japanese kids? The message is that “slurping \u003ci>is \u003c/i>the proper etiquette,” Horvitz says. “You can tell that to your parents when you go home — that they should be slurping too.”\u003c/p>\n\u003cp>Oh, and the udon for the BAMPFA event won’t be your run-of-the-mill cup o’ noodles. To prepare, Hedendal, known for cooking elaborate dinners \u003ca href=\"https://www.nytimes.com/2020/01/22/t-magazine/jessica-silverman-gallery.html\">for Bay Area art-world luminati\u003c/a>, asked \u003ca href=\"https://www.kqed.org/forum/2010101895308/rintaro-cookbook-brings-the-izakaya-to-your-kitchen\">Sylvan Mishima Brackett\u003c/a> (chef-owner of the Mission District izakaya Rintaro) to give him a lesson in making udon from scratch — in other words, these will be pedigreed, \u003ci>hand-rolled\u003c/i> noodles that the kiddos will be hoovering up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to enjoying a good, comforting meal, participants will also use some of the extra noodles to create sumi ink art that they can bring home. And Hedendal hopes to incorporate some impromptu noodle-making lessons as well.\u003c/p>\n\u003cp>And, as Horvitz notes, even though the event is ostensibly geared toward children, noodle lovers of all ages are welcome to participate. “Adults who don’t slurp should learn how to slurp too,” he says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>There will be two sessions of ‘Teach Your Children to Slurp Noodles’ at BAMPFA (2155 Center St., Berkeley) on Sunday, June 1, at noon and 1 p.m. Space is limited, and \u003c/i>\u003ca href=\"https://bampfa.org/event/teach-your-children-slurp-noodles\">\u003ci>advance tickets\u003c/i>\u003c/a>\u003ci> are required, though Horvitz says he’ll do his best to accommodate anyone who comes.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For multimedia artist David Horvitz, slurping noodles isn’t just a way of eating. The Los Angeles-based artist says that as a half-Japanese person, he sees it as part of his cultural heritage: In \u003ca href=\"https://www.kqed.org/arts/tag/japan\">Japan\u003c/a>, after all, slurping is widely understood to be the correct way to enjoy a bowl of noodles, and to show appreciation to the person who cooked them. Here in America, where slurping is considered bad table manners, Horvitz always wanted to teach his own daughters the pleasures of a proper slurp.\u003c/p>\n\u003cp>And so Horvitz turned noisy eating into part of his art practice. Or, to be specific, he and Bay Area chef Leif Hedendal will be putting on a kid-friendly experiential art show of sorts at the Berkeley Art Museum and Pacific Film Archive this Sunday entitled \u003ca href=\"https://bampfa.org/event/teach-your-children-slurp-noodles\">Teach Your Children to Slurp Noodles\u003c/a>. Hedendal will serve bowls of homemade udon, and the young participants will slurp those noodles while mic’d up to an amplifier, creating live noise performance — a sonic soundscape of slurping, if you will.\u003c/p>\n\u003cp>Reached by phone, Horvitz explains that the origin of the project was a \u003ca href=\"https://mocastore.org/products/1037032\">screen print\u003c/a> he created in 2023, also called \u003ci>Teach Your Children to Slurp Noodles\u003c/i>, for which he hand-wrote those words with actual udon noodles, let them dry, and then screen printed them onto Japanese washi paper. Later, he and five other Asian artist friends put on the first version of the live slurping performance at a \u003ca href=\"https://active-cultures.org/project/soup-tart-los-angeles/\">Museum of Contemporary Art (MOCA) event\u003c/a> in Little Tokyo in L.A. They ordered udon from a little Japanese diner called Suehiro Cafe, a couple blocks away. “We slurped [the noodles] with a microphone,” Horvitz recalls, “and my friend processed it live with an analog synth and made these crazy sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13976893\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976893\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-scaled.jpg\" alt='Screen print of squiggly letters made with udon noodles. The text reads, \"Teach Your Children to Slurp Noodles.\"' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/teach-your-children-to-slurp-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Horvitz, ‘Teach Your Children to Slurp Noodles,’ 2023. \u003ccite>(Courtesy of David Horvitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Now, recasting the event in Berkeley with a focus on kids, Horvitz mostly hopes the noodle-slurping extravaganza will be a lot of fun. But he also sees an educational component. For Japanese American kids like his own, it’s a matter of knowing their history and lineage — and knowing that they can stand up for themselves if, say, a classmate sees them slurping and tells them it’s weird. And for non-Japanese kids? The message is that “slurping \u003ci>is \u003c/i>the proper etiquette,” Horvitz says. “You can tell that to your parents when you go home — that they should be slurping too.”\u003c/p>\n\u003cp>Oh, and the udon for the BAMPFA event won’t be your run-of-the-mill cup o’ noodles. To prepare, Hedendal, known for cooking elaborate dinners \u003ca href=\"https://www.nytimes.com/2020/01/22/t-magazine/jessica-silverman-gallery.html\">for Bay Area art-world luminati\u003c/a>, asked \u003ca href=\"https://www.kqed.org/forum/2010101895308/rintaro-cookbook-brings-the-izakaya-to-your-kitchen\">Sylvan Mishima Brackett\u003c/a> (chef-owner of the Mission District izakaya Rintaro) to give him a lesson in making udon from scratch — in other words, these will be pedigreed, \u003ci>hand-rolled\u003c/i> noodles that the kiddos will be hoovering up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to enjoying a good, comforting meal, participants will also use some of the extra noodles to create sumi ink art that they can bring home. And Hedendal hopes to incorporate some impromptu noodle-making lessons as well.\u003c/p>\n\u003cp>And, as Horvitz notes, even though the event is ostensibly geared toward children, noodle lovers of all ages are welcome to participate. “Adults who don’t slurp should learn how to slurp too,” he says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>There will be two sessions of ‘Teach Your Children to Slurp Noodles’ at BAMPFA (2155 Center St., Berkeley) on Sunday, June 1, at noon and 1 p.m. Space is limited, and \u003c/i>\u003ca href=\"https://bampfa.org/event/teach-your-children-slurp-noodles\">\u003ci>advance tickets\u003c/i>\u003c/a>\u003ci> are required, though Horvitz says he’ll do his best to accommodate anyone who comes.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Debunk MSG Myths? Go Back in Time and Alter History, Of Course",
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"content": "\u003cp>When playwright Keiko Green was in her early teens, she learned that her grandfather — her ojiichan — had worked as a food scientist for Ajinomoto, the Tokyo-based company best known for inventing monosodium glutamate, a.k.a. MSG. In that moment, Green recalls, she didn’t feel a sense of pride in her family’s contribution to culinary history. Instead, she felt something more akin to shame. For a biracial \u003ca href=\"https://www.kqed.org/arts/tag/japanese-american\">Japanese American\u003c/a> kid growing up in a predominantly white suburb of Atlanta, Georgia, the MSG link was just one more thing that made her different.\u003c/p>\n\u003cp>“It just felt like I was sticking out so much,” she recalls. “And there was that teenage part of you that wants to just disappear into the background and be a little invisible.”\u003c/p>\n\u003cp>And anyway, \u003ca href=\"https://www.kqed.org/arts/13966489/asian-american-chefs-msg-event-series-sf-chinatown-edge-on-the-square\">wasn’t MSG \u003ci>bad\u003c/i>\u003c/a>?\u003c/p>\n\u003cp>Well, no. Years later — long after Green had learned that those old “\u003ca href=\"https://www.sciencehistory.org/stories/magazine/the-rotten-science-behind-the-msg-scare/\">Chinese Restaurant Syndrome\u003c/a>” campaigns were based on \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/an-msg-convert-visits-the-high-church-of-umami\">bad science\u003c/a> and, often, blatant \u003ca href=\"https://www.nbcnews.com/news/asian-america/eddie-huang-racial-insensitivities-behind-msg-chinese-food-criticisms-n1115386\">racism\u003c/a> — the playwright recreated this moment of racialized teen angst in her play \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">\u003ci>Exotic Deadly: Or the MSG Play\u003c/i>\u003c/a>, which opens at San Francisco Playhouse on Jan. 30, directed by Jesca Prudencio.\u003c/p>\n\u003cfigure id=\"attachment_13970888\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg\" alt=\"A woman in a baseball cap seated in a theater with her arms outstretched. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keiko Green wrote ‘Exotic Deadly’ during the pandemic, drawing on her own family connection to the Japanese company that invented MSG. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Green, the protagonist, Ami (played by Ana Ming Bostwick-Singer), is an Asian American teen growing up in the late ’90s. Ami first hears about MSG from a doctor on TV who warns about the flavor enhancer “poisoning America.” When she learns that her grandfather was the Japanese scientist who invented the headache-inducing powder, it’s like finding out that her own blood is tainted. She, too, wishes she could just make herself invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is where the play deviates a bit from personal biography. Ami decides that the best thing to do is to travel back in time to prevent her ojiichan from ever inventing MSG, thus redeeming her family’s reputation and saving the entire world in the process. As you do.\u003c/p>\n\u003cp>Madcap sci-fi twists notwithstanding, Green says \u003ci>Exotic Deadly\u003c/i> draws on her own adolescent experience more than any of her previous work. The play taps into the self-consciousness that Green felt about her Asian identity, especially when it came to the “lovely, nutritious bento” lunches that her mother packed for her every day. Those lunchboxes became a daily battle, Green recalls, even though she \u003ci>loved \u003c/i>her mother’s cooking. She especially relished her traditional Japanese breakfasts: a full spread of grilled fish, rice, miso soup, pickled plums and, her favorite, the sticky, funky fermented soybeans known as natto. (“I would obviously never take natto to school,” she says.)\u003c/p>\n\u003cp>Green remembers having bottles of the MSG seasoning powder at home, but her mom kept them hidden in a little cupboard — as though she, too, believed there was something shameful about the stuff.\u003c/p>\n\u003cp>“Later on, when I thought about that shame of internalized racism, I really thought back to the image of my mom keeping that bottle hidden away,” Green says.\u003c/p>\n\u003cfigure id=\"attachment_13970890\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Jesca Prudencio (left) and Green at a workshop for SF Playhouse’s production of ‘Exotic Deadly.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green, whose recent work includes a writing credit on \u003ca href=\"https://www.npr.org/2024/11/29/1215793965/interior-chinatown-is-a-genre-bending-exploration-of-asian-american-identity\">Hulu’s genre-bending adaptation of Charles Yu’s \u003ci>Interior Chinatown\u003c/i>\u003c/a>, knew she wanted to write a play about her family connection to MSG. But every time she tried, it always felt a little bit too clichéd. It was only after the COVID shutdown hit, she says, that she stopped worrying about whether the “gatekeepers” of the theater world would approve of the play. She wrote \u003ci>Exotic Deadly \u003c/i>mainly just to make herself laugh.\u003c/p>\n\u003cp>Though the play does deal with heavy themes of racism, Green says, it’s also by far the “craziest” play she’s ever written. “It breaks every rule,” she says. “It has a bajillion characters. Sometimes we change locations three times on a page.”\u003c/p>\n\u003cp>And since pseudoscience had imbued MSG with so many fake, insidious properties, Green thought it would be fun to give MSG even \u003ci>more \u003c/i>fake effects: “In this play, MSG makes you really good at kung fu fighting. It can make you time travel. It heals your bones.”\u003c/p>\n\u003cp>Then there’s the character who goes by “Exotic Deadly” (played by Francesca Fernandez) — a phrase that Green took directly from an old article about MSG. The name also evokes her memories of her early days as a stage actress, when every role for Asian American women seemed overtly sexualized. “Even in Shakespeare, they wanted you to play the prostitute,” she recalls. In the play, Exotic Deadly is the new girl from Japan who serves as Ami’s foil — who loves MSG, is proud of her Asian identity, and is full of rage toward the systems and stereotypes that oppress her.\u003c/p>\n\u003cp>The play ends with a big spectacle, and the idea, Green says, is for the climactic moment to \u003ci>feel\u003c/i> the way that MSG tastes.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13966489,arts_13934852,arts_13920714']\u003c/span>\u003c/span>For Asian Americans who grew up in the heyday of \u003ca href=\"https://www.reddit.com/r/aznidentity/comments/qhxho4/what_are_all_the_azn_pride_people_back_in_the/\">AZN Pride\u003c/a>, the reclamation of MSG has been a major project of the past dozen years, championed by chefs like David Chang and Anthony Bourdain, and food scientists like \u003ca href=\"https://web.archive.org/web/20150115205527/https://luckypeach.com/on-msg-and-chinese-restaurant-syndrome/\">Harold McGee\u003c/a>. These days, MSG pride is as mainstream — and as widely \u003ca href=\"https://www.tiktok.com/@iantedy/video/7056639071141121306\">memeified\u003c/a> — as boba pride, and “Chinese Restaurant Syndrome” has been thoroughly debunked.\u003c/p>\n\u003cp>Even still, Green says that every time she wonders if a play like \u003ci>Exotic Deadly \u003c/i>is still relevant after such a sea change, she’ll see a comment from a theater colleague or a random poster on the internet who says, in full earnestness, “Finally, someone is talking about how deadly [MSG] is.”\u003c/p>\n\u003cp>And while COVID helped birth the play, it also set off a wave of anti-Asian sentiment in the U.S. In March 2021, when Green was preparing for the first big stage reading for \u003ci>Exotic Deadly\u003c/i> at The Old Globe in San Diego, the Atlanta spa shootings happened — eight people, including six women of Asian descent, shot and killed by a young man who told police he had a sex addiction.\u003c/p>\n\u003cp>\u003ci>Exotic Deadly\u003c/i> doesn’t deal directly with the violent side of exotification — to be clear, by Green’s own account, the play is a pure comedy. But the spate of anti-Asian hate crimes in the past few years has made her think about how for so many immigrants, their culture’s food is often the very first thing they’re made to feel ashamed of.\u003c/p>\n\u003cp>“We’re taught at such a young age that it’s okay to ‘other’ certain kinds of culture and food,” she says. “So when I see violence, when I see anti-Asian hate, I actually feel like it’s all extremely connected.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">Exotic Deadly: Or the MSG Play\u003c/a>\u003ci> runs from Jan. 30 through March 8 at SF Playhouse (450 Post St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When playwright Keiko Green was in her early teens, she learned that her grandfather — her ojiichan — had worked as a food scientist for Ajinomoto, the Tokyo-based company best known for inventing monosodium glutamate, a.k.a. MSG. In that moment, Green recalls, she didn’t feel a sense of pride in her family’s contribution to culinary history. Instead, she felt something more akin to shame. For a biracial \u003ca href=\"https://www.kqed.org/arts/tag/japanese-american\">Japanese American\u003c/a> kid growing up in a predominantly white suburb of Atlanta, Georgia, the MSG link was just one more thing that made her different.\u003c/p>\n\u003cp>“It just felt like I was sticking out so much,” she recalls. “And there was that teenage part of you that wants to just disappear into the background and be a little invisible.”\u003c/p>\n\u003cp>And anyway, \u003ca href=\"https://www.kqed.org/arts/13966489/asian-american-chefs-msg-event-series-sf-chinatown-edge-on-the-square\">wasn’t MSG \u003ci>bad\u003c/i>\u003c/a>?\u003c/p>\n\u003cp>Well, no. Years later — long after Green had learned that those old “\u003ca href=\"https://www.sciencehistory.org/stories/magazine/the-rotten-science-behind-the-msg-scare/\">Chinese Restaurant Syndrome\u003c/a>” campaigns were based on \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/an-msg-convert-visits-the-high-church-of-umami\">bad science\u003c/a> and, often, blatant \u003ca href=\"https://www.nbcnews.com/news/asian-america/eddie-huang-racial-insensitivities-behind-msg-chinese-food-criticisms-n1115386\">racism\u003c/a> — the playwright recreated this moment of racialized teen angst in her play \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">\u003ci>Exotic Deadly: Or the MSG Play\u003c/i>\u003c/a>, which opens at San Francisco Playhouse on Jan. 30, directed by Jesca Prudencio.\u003c/p>\n\u003cfigure id=\"attachment_13970888\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg\" alt=\"A woman in a baseball cap seated in a theater with her arms outstretched. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keiko Green wrote ‘Exotic Deadly’ during the pandemic, drawing on her own family connection to the Japanese company that invented MSG. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Green, the protagonist, Ami (played by Ana Ming Bostwick-Singer), is an Asian American teen growing up in the late ’90s. Ami first hears about MSG from a doctor on TV who warns about the flavor enhancer “poisoning America.” When she learns that her grandfather was the Japanese scientist who invented the headache-inducing powder, it’s like finding out that her own blood is tainted. She, too, wishes she could just make herself invisible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is where the play deviates a bit from personal biography. Ami decides that the best thing to do is to travel back in time to prevent her ojiichan from ever inventing MSG, thus redeeming her family’s reputation and saving the entire world in the process. As you do.\u003c/p>\n\u003cp>Madcap sci-fi twists notwithstanding, Green says \u003ci>Exotic Deadly\u003c/i> draws on her own adolescent experience more than any of her previous work. The play taps into the self-consciousness that Green felt about her Asian identity, especially when it came to the “lovely, nutritious bento” lunches that her mother packed for her every day. Those lunchboxes became a daily battle, Green recalls, even though she \u003ci>loved \u003c/i>her mother’s cooking. She especially relished her traditional Japanese breakfasts: a full spread of grilled fish, rice, miso soup, pickled plums and, her favorite, the sticky, funky fermented soybeans known as natto. (“I would obviously never take natto to school,” she says.)\u003c/p>\n\u003cp>Green remembers having bottles of the MSG seasoning powder at home, but her mom kept them hidden in a little cupboard — as though she, too, believed there was something shameful about the stuff.\u003c/p>\n\u003cp>“Later on, when I thought about that shame of internalized racism, I really thought back to the image of my mom keeping that bottle hidden away,” Green says.\u003c/p>\n\u003cfigure id=\"attachment_13970890\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Jesca Prudencio (left) and Green at a workshop for SF Playhouse’s production of ‘Exotic Deadly.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green, whose recent work includes a writing credit on \u003ca href=\"https://www.npr.org/2024/11/29/1215793965/interior-chinatown-is-a-genre-bending-exploration-of-asian-american-identity\">Hulu’s genre-bending adaptation of Charles Yu’s \u003ci>Interior Chinatown\u003c/i>\u003c/a>, knew she wanted to write a play about her family connection to MSG. But every time she tried, it always felt a little bit too clichéd. It was only after the COVID shutdown hit, she says, that she stopped worrying about whether the “gatekeepers” of the theater world would approve of the play. She wrote \u003ci>Exotic Deadly \u003c/i>mainly just to make herself laugh.\u003c/p>\n\u003cp>Though the play does deal with heavy themes of racism, Green says, it’s also by far the “craziest” play she’s ever written. “It breaks every rule,” she says. “It has a bajillion characters. Sometimes we change locations three times on a page.”\u003c/p>\n\u003cp>And since pseudoscience had imbued MSG with so many fake, insidious properties, Green thought it would be fun to give MSG even \u003ci>more \u003c/i>fake effects: “In this play, MSG makes you really good at kung fu fighting. It can make you time travel. It heals your bones.”\u003c/p>\n\u003cp>Then there’s the character who goes by “Exotic Deadly” (played by Francesca Fernandez) — a phrase that Green took directly from an old article about MSG. The name also evokes her memories of her early days as a stage actress, when every role for Asian American women seemed overtly sexualized. “Even in Shakespeare, they wanted you to play the prostitute,” she recalls. In the play, Exotic Deadly is the new girl from Japan who serves as Ami’s foil — who loves MSG, is proud of her Asian identity, and is full of rage toward the systems and stereotypes that oppress her.\u003c/p>\n\u003cp>The play ends with a big spectacle, and the idea, Green says, is for the climactic moment to \u003ci>feel\u003c/i> the way that MSG tastes.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>For Asian Americans who grew up in the heyday of \u003ca href=\"https://www.reddit.com/r/aznidentity/comments/qhxho4/what_are_all_the_azn_pride_people_back_in_the/\">AZN Pride\u003c/a>, the reclamation of MSG has been a major project of the past dozen years, championed by chefs like David Chang and Anthony Bourdain, and food scientists like \u003ca href=\"https://web.archive.org/web/20150115205527/https://luckypeach.com/on-msg-and-chinese-restaurant-syndrome/\">Harold McGee\u003c/a>. These days, MSG pride is as mainstream — and as widely \u003ca href=\"https://www.tiktok.com/@iantedy/video/7056639071141121306\">memeified\u003c/a> — as boba pride, and “Chinese Restaurant Syndrome” has been thoroughly debunked.\u003c/p>\n\u003cp>Even still, Green says that every time she wonders if a play like \u003ci>Exotic Deadly \u003c/i>is still relevant after such a sea change, she’ll see a comment from a theater colleague or a random poster on the internet who says, in full earnestness, “Finally, someone is talking about how deadly [MSG] is.”\u003c/p>\n\u003cp>And while COVID helped birth the play, it also set off a wave of anti-Asian sentiment in the U.S. In March 2021, when Green was preparing for the first big stage reading for \u003ci>Exotic Deadly\u003c/i> at The Old Globe in San Diego, the Atlanta spa shootings happened — eight people, including six women of Asian descent, shot and killed by a young man who told police he had a sex addiction.\u003c/p>\n\u003cp>\u003ci>Exotic Deadly\u003c/i> doesn’t deal directly with the violent side of exotification — to be clear, by Green’s own account, the play is a pure comedy. But the spate of anti-Asian hate crimes in the past few years has made her think about how for so many immigrants, their culture’s food is often the very first thing they’re made to feel ashamed of.\u003c/p>\n\u003cp>“We’re taught at such a young age that it’s okay to ‘other’ certain kinds of culture and food,” she says. “So when I see violence, when I see anti-Asian hate, I actually feel like it’s all extremely connected.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">Exotic Deadly: Or the MSG Play\u003c/a>\u003ci> runs from Jan. 30 through March 8 at SF Playhouse (450 Post St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a> is adept at remixing the energy around him. Over the past few years, the Oakland-raised artist — who is of Japanese, Irish and Panamanian heritage — has been at the forefront of pushing a new kind of Bay Area sound, a saucy combination of Northern California rap, \u003ca href=\"https://www.kqed.org/arts/13924014/seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown\">Japanese City Pop\u003c/a> and free-flowing jazz. He’s dubbed it “lofi // HYPHY.”\u003c/p>\n\u003cp>On social media, he’s gone viral for \u003ca href=\"https://www.instagram.com/p/C0-E7hTSazq/?hl=en\">popping his collar while sitting on a tree branch\u003c/a>, \u003ca href=\"https://www.instagram.com/p/C6b8tBJPs0c/?hl=en\">dancing in a Japanese garden\u003c/a> or \u003ca href=\"https://www.instagram.com/p/C6NoYJLL2uE/?hl=en\">going stupid beneath a waterfall\u003c/a> — all while his raps casually slap in the background. In each clip, he summons the holy spirit of a mid-aughts hyphy ghost while somehow remaining as chill as \u003ca href=\"https://www.youtube.com/watch?v=f932UdEg4p8\">Lofi Girl studying at a desk\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13955802']His music is a bottled-up version of big Bay Area energy, taking the form of a peaceful bonsai tree. There isn’t really a category to describe Seiji Oda’s vibe, either. Hyphy heart whispering? Gentle gigging? Serene smeezing? Acoustic turfing? Going dumb in acapella? Therapeutic thizzing?\u003c/p>\n\u003cp>“Growing up, I was listening to Bay music,” he says. “Mac Dre, that type of shit. But when I got into making music, it was the more melodic stuff like jazz. That kind of sparked my interest in melding that with Bay music.”\u003c/p>\n\u003cp>Seiji Oda’s latest track, “a gentle gigg,” delivers exactly that: a cool minimalism and tranquility distilled into lo-fi hyphy. The Jake Chapman-produced single — which has already accumulated thousands of views, and been shared by SZA, G-Eazy and SiR — evokes E-40’s “Tell Me When To Go” while floating over a soundscape of gentle bells and flutes, stripped-down drums and a hint of mobb music bass.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KwFJ4cH51-s\u003c/p>\n\u003cp>Like much of Seiji Oda’s output, the track blends the Bay’s famously uptempo street ethos alongside elements of nature and gratitude. His lyrics underscore the Bay’s contrasting discrepancies, too: “I got friends who went to Berklee School of Music / I got friends who let that glock spill on you for talking stupid / I got homies that’s hella hyphy born after the hyphy movement / I got OGs who teach peace and started revolutions.”\u003c/p>\n\u003cp>It’s audio proof that Seiji Oda has been quietly nurturing his aura, and he supplies it in abundance — a playerish kind of positivity inspired by anime, international travel, vintage clothing, retro Japanese vocals, Oakland sideshows and much more. Now, others seem to be catching on.\u003c/p>\n\u003cp>[aside postID='arts_13953009']“I feel like the reason I make art is to give people an oasis in the world,” he says. “I really want to create a soundscape; that’s the goal. I’m always positive, and very simply myself. I’m not trying to be anything other than that.”\u003c/p>\n\u003cp>“The industry tries to lump Asian artists into one vague genre, [but] we’re not all gonna fit on the Jasmine or Tapioca playlist,” he continues. “I wanna show the young life we can do anything, not just what people expect of us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He’s certainly on his way to doing that, and is currently establishing himself as one of the region’s most promising, original talents. As he sagely reminds us on his latest track: “We all got game, so each one teach one / we all different.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I feel like the reason I make art is to give people an oasis in the world,” he says. “I really want to create a soundscape; that’s the goal. I’m always positive, and very simply myself. I’m not trying to be anything other than that.”\u003c/p>\n\u003cp>“The industry tries to lump Asian artists into one vague genre, [but] we’re not all gonna fit on the Jasmine or Tapioca playlist,” he continues. “I wanna show the young life we can do anything, not just what people expect of us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He’s certainly on his way to doing that, and is currently establishing himself as one of the region’s most promising, original talents. As he sagely reminds us on his latest track: “We all got game, so each one teach one / we all different.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over a decade ago, when the owners of \u003ca href=\"https://www.instagram.com/umamimart/\">Umami Mart\u003c/a> — the sleek Japanese boutique that sells hard-to-find liquor and high-end barware like 24-karat gold bar spoons and diamond-cut mixing glasses — first arrived in Oakland, they hoped to celebrate Japan’s diverse beverage offerings. And they’ve done exactly that.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955219,arts_13935854,arts_13954939']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Providing one of the Bay Area’s largest selections of Japanese craft beers and spirits, owners Yoko Kumano and Kayoko Akabori — who met while growing up in Cupertino — have \u003ca href=\"https://www.kqed.org/bayareabites/95914/japanese-craft-beer-comes-to-oakland-and-heres-what-you-should-try\">successfully imported Japan’s cheerful “kanpai” culture to the East Bay\u003c/a>. If you’ve ever wandered around their quaint brick-and-mortar outpost on Broadway & 40th, you’ve certainly discovered their lo-fi bar at the back, where whiskey highballs and shochu (a Japanese grain- and vegetable-based spirit) are served with a generous hand.\u003c/p>\n\u003cp>On Saturday, April 13, they’ll be upping the ante with their annual \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a>. A “nama” — an abbreviation for namazake, or raw, unpasteurized sake — is the most freshly pressed iteration of sake you can find. Every spring, the seasonal sakes are ceremoniously made and bottled. In honor of the tradition, Umami Mart has held a small-scale NamaFest celebration at the bar each spring, but this year’s event will be the biggest one yet — the first time they’ll be hosting a full-on outdoor festival with 16 sake makers, both local and international, pouring up for the Bay Area’s most avid rice wine lovers.\u003c/p>\n\u003cfigure id=\"attachment_13955492\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg\" alt=\"an outdoor event where patrons sit and dine on a sunny afternoon\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Umami Mart’s back lot has been used for events in the past, but never a full-on outdoor sake fest until now. \u003ccite>(Courtesy Umami Mart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event will take place in the shop’s back lot and will also include bites from pop-up \u003ca href=\"https://www.instagram.com/casadekei/?hl=en\">Casa de Kei\u003c/a>. With a one-ticket-gives-you-access-to-drinking-everything model, visitors can rotate through each glass of undiluted sake — including offerings from \u003ca href=\"https://sequoiasake.com/\">Sequoia Sake\u003c/a>, \u003ca href=\"https://www.sipfifthtaste.com/\">Fifth Taste Sake\u003c/a>, \u003ca href=\"https://www.jotosake.com//\">Joto Sake\u003c/a>, \u003ca href=\"https://www.takarasake.com/\">Takara Sake\u003c/a> and, for the non-sake drinkers, \u003ca href=\"https://www.suntory.com/beer/premium/en/\">Suntory malt beer\u003c/a>.\u003c/p>\n\u003cp>Afterwards — or better yet, beforehand, while you still have your wits about you — festival-goers can peruse the shop and snag a miniature ceramic ghost or cat-themed can of beer. In my experience, Umami Mart sells top-shelf Japanese goods and beverages I’ve otherwise only ever seen while visiting Tokyo. Except this is in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a> will take place in Umami Mart’s back lot (4027 Broadway, Oakland) on Sat., April 13, from 1–5 p.m. \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">Tickets are $55 and include a tasting of all 16 sakes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a decade ago, when the owners of \u003ca href=\"https://www.instagram.com/umamimart/\">Umami Mart\u003c/a> — the sleek Japanese boutique that sells hard-to-find liquor and high-end barware like 24-karat gold bar spoons and diamond-cut mixing glasses — first arrived in Oakland, they hoped to celebrate Japan’s diverse beverage offerings. And they’ve done exactly that.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Providing one of the Bay Area’s largest selections of Japanese craft beers and spirits, owners Yoko Kumano and Kayoko Akabori — who met while growing up in Cupertino — have \u003ca href=\"https://www.kqed.org/bayareabites/95914/japanese-craft-beer-comes-to-oakland-and-heres-what-you-should-try\">successfully imported Japan’s cheerful “kanpai” culture to the East Bay\u003c/a>. If you’ve ever wandered around their quaint brick-and-mortar outpost on Broadway & 40th, you’ve certainly discovered their lo-fi bar at the back, where whiskey highballs and shochu (a Japanese grain- and vegetable-based spirit) are served with a generous hand.\u003c/p>\n\u003cp>On Saturday, April 13, they’ll be upping the ante with their annual \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a>. A “nama” — an abbreviation for namazake, or raw, unpasteurized sake — is the most freshly pressed iteration of sake you can find. Every spring, the seasonal sakes are ceremoniously made and bottled. In honor of the tradition, Umami Mart has held a small-scale NamaFest celebration at the bar each spring, but this year’s event will be the biggest one yet — the first time they’ll be hosting a full-on outdoor festival with 16 sake makers, both local and international, pouring up for the Bay Area’s most avid rice wine lovers.\u003c/p>\n\u003cfigure id=\"attachment_13955492\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg\" alt=\"an outdoor event where patrons sit and dine on a sunny afternoon\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Umami Mart’s back lot has been used for events in the past, but never a full-on outdoor sake fest until now. \u003ccite>(Courtesy Umami Mart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event will take place in the shop’s back lot and will also include bites from pop-up \u003ca href=\"https://www.instagram.com/casadekei/?hl=en\">Casa de Kei\u003c/a>. With a one-ticket-gives-you-access-to-drinking-everything model, visitors can rotate through each glass of undiluted sake — including offerings from \u003ca href=\"https://sequoiasake.com/\">Sequoia Sake\u003c/a>, \u003ca href=\"https://www.sipfifthtaste.com/\">Fifth Taste Sake\u003c/a>, \u003ca href=\"https://www.jotosake.com//\">Joto Sake\u003c/a>, \u003ca href=\"https://www.takarasake.com/\">Takara Sake\u003c/a> and, for the non-sake drinkers, \u003ca href=\"https://www.suntory.com/beer/premium/en/\">Suntory malt beer\u003c/a>.\u003c/p>\n\u003cp>Afterwards — or better yet, beforehand, while you still have your wits about you — festival-goers can peruse the shop and snag a miniature ceramic ghost or cat-themed can of beer. In my experience, Umami Mart sells top-shelf Japanese goods and beverages I’ve otherwise only ever seen while visiting Tokyo. Except this is in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a> will take place in Umami Mart’s back lot (4027 Broadway, Oakland) on Sat., April 13, from 1–5 p.m. \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">Tickets are $55 and include a tasting of all 16 sakes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Free Mochi Pizza For National Pizza Day? Yes, Please",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A few months ago, my wife — who, like me, is an avid pizza head — sent me news about an interesting new style of pizza we’d never heard of, but wanted to devour: mochi pizza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Served at \u003c/span>\u003ca href=\"https://www.instagram.com/mochikomochipizza/\">\u003cspan style=\"font-weight: 400\">Mochiko\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Burlingame, the rare, rectangular pies use mochigome — a form of Japanese glutinous rice that is steamed then turned into a chewy paste — instead of traditional flour dough. Though we haven’t been able to make the trip out to Burlingame yet (\u003c/span>\u003ca href=\"https://www.kqed.org/news/11973704/things-to-do-bay-area-with-children\">\u003cspan style=\"font-weight: 400\">it’s not always easy getting out of the house with an infant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), it’s on my short list of foods I’m willing to pay my share of gas money to try.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13931296,arts_13928196']\u003c/span>With Japanese-inspired flavors like chicken curry (which features chicken karaage and Japanese curry) in addition to classics like pepperoni, Mochiko appears to be carving (slicing?) out a niche lane as what they claim to be \u003c/span>\u003ca href=\"https://www.sfgate.com/food/article/bay-area-mochiko-mochi-pizza-opening-18457749.php\">\u003cspan style=\"font-weight: 400\">the first ever mochi pizzeria\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The idea, it seems, is to create a \u003ca href=\"https://www.mochipizza.com/faq/\">gluten-free crust\u003c/a> that combines \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/best-new-bay-area-18517990.php\">crispy outer edges\u003c/a> with a stretchy, chewy interior. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, the restaurant is making it even easier for Bay Area eaters to experience the mochi fusion by introducing a second location — essentially a new menu available inside the Palo Alto branch of \u003c/span>\u003ca href=\"https://www.instagram.com/sushirrito/?hl=en\">\u003cspan style=\"font-weight: 400\">Sushirrito\u003c/span>\u003c/a>. (P\u003cspan style=\"font-weight: 400\">erhaps unsurprisingly, t\u003c/span>\u003cspan style=\"font-weight: 400\">he owners of Mochiko are also the ones behind that hybrid sushi burrito chain.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having soft-launched at the end of January, Mochiko’s new outpost will celebrate its official grand opening on Friday, Feb. 9 — which also happens to be National Pizza Day. To add extra sauce to their deal, the Palo Alto shop will serve free slices that day, from 4 to 6 p.m. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since it’s easier for me to get to this location, expect to find me finally checking mochi pizza off my things-you-can-only-eat-in-the-Bay-Area bingo card. I’m sure I won’t be the only one.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mochikomochipizza/\">\u003ci>\u003cspan style=\"font-weight: 400\">Mochiko Mochi Pizza\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (448 University Ave., Palo Alto, inside Sushirrito) will host its grand opening on Fri., Feb. 9, when it will serve free slices from 4 to 6 p.m. Moving forward, the restaurant will be open daily from noon to 8 p.m.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A few months ago, my wife — who, like me, is an avid pizza head — sent me news about an interesting new style of pizza we’d never heard of, but wanted to devour: mochi pizza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Served at \u003c/span>\u003ca href=\"https://www.instagram.com/mochikomochipizza/\">\u003cspan style=\"font-weight: 400\">Mochiko\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Burlingame, the rare, rectangular pies use mochigome — a form of Japanese glutinous rice that is steamed then turned into a chewy paste — instead of traditional flour dough. Though we haven’t been able to make the trip out to Burlingame yet (\u003c/span>\u003ca href=\"https://www.kqed.org/news/11973704/things-to-do-bay-area-with-children\">\u003cspan style=\"font-weight: 400\">it’s not always easy getting out of the house with an infant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), it’s on my short list of foods I’m willing to pay my share of gas money to try.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>With Japanese-inspired flavors like chicken curry (which features chicken karaage and Japanese curry) in addition to classics like pepperoni, Mochiko appears to be carving (slicing?) out a niche lane as what they claim to be \u003c/span>\u003ca href=\"https://www.sfgate.com/food/article/bay-area-mochiko-mochi-pizza-opening-18457749.php\">\u003cspan style=\"font-weight: 400\">the first ever mochi pizzeria\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The idea, it seems, is to create a \u003ca href=\"https://www.mochipizza.com/faq/\">gluten-free crust\u003c/a> that combines \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/best-new-bay-area-18517990.php\">crispy outer edges\u003c/a> with a stretchy, chewy interior. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, the restaurant is making it even easier for Bay Area eaters to experience the mochi fusion by introducing a second location — essentially a new menu available inside the Palo Alto branch of \u003c/span>\u003ca href=\"https://www.instagram.com/sushirrito/?hl=en\">\u003cspan style=\"font-weight: 400\">Sushirrito\u003c/span>\u003c/a>. (P\u003cspan style=\"font-weight: 400\">erhaps unsurprisingly, t\u003c/span>\u003cspan style=\"font-weight: 400\">he owners of Mochiko are also the ones behind that hybrid sushi burrito chain.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having soft-launched at the end of January, Mochiko’s new outpost will celebrate its official grand opening on Friday, Feb. 9 — which also happens to be National Pizza Day. To add extra sauce to their deal, the Palo Alto shop will serve free slices that day, from 4 to 6 p.m. \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\">Since it’s easier for me to get to this location, expect to find me finally checking mochi pizza off my things-you-can-only-eat-in-the-Bay-Area bingo card. I’m sure I won’t be the only one.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mochikomochipizza/\">\u003ci>\u003cspan style=\"font-weight: 400\">Mochiko Mochi Pizza\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (448 University Ave., Palo Alto, inside Sushirrito) will host its grand opening on Fri., Feb. 9, when it will serve free slices from 4 to 6 p.m. Moving forward, the restaurant will be open daily from noon to 8 p.m.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Cookbook Shows That Going Vegan Doesn't Have to Break Your Budget",
"headTitle": "A New Cookbook Shows That Going Vegan Doesn’t Have to Break Your Budget | KQED",
"content": "\u003cp>Toni Okamoto spent most of her childhood in Sacramento with her Mexican grandmother and Japanese grandfather.\u003c/p>\n\u003cp>From her grandmother, she learned to cook calabasitas, sopa de fideo and tacos of all kinds. From her grandfather, she learned the value of cultivating your own ingredients — he returned to work on the family farm after surviving World War II internment camps.\u003c/p>\n\u003cp>Those influences now show up fondly in Okamato’s work as a vegan cook, a path she started in 2007, when she was 20 years old.\u003c/p>\n\u003cp>Earlier this year, she released her fourth cookbook, \u003ca href=\"https://www.penguinrandomhouse.com/books/718948/plant-based-on-a-budget-quick-and-easy-by-toni-okamoto-foreword-by-michael-greger/\">\u003ci>Plant-Based on a Budget Quick & Easy\u003c/i>\u003c/a>, which offers vegan recipes that are inexpensive and culturally relevant. She’s on a mission to re-educate people on how to cook better for their health, well-being and bank accounts while staying true to their identities.\u003c/p>\n\u003cp>In that way, Okamoto’s work echoes that of other Northern California cookbook authors including\u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\"> Bryant Terry\u003c/a>, Luz Calvo and Catriona Rueda Esquibel, whose \u003ca href=\"https://eastbayexpress.com/bay-area-professors-write-decolonial-mexican-cookbook-to-reclaim-the-traditional-foods-of-their-ancestors-2-1/\">decolonial approach\u003c/a> to cooking challenges the widely accepted narrative that cultural or “ethnic” foods are inherently unhealthy — and that they must showcase meat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13938179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover.jpg\" alt=\"\" width=\"1920\" height=\"2469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-1020x1312.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-768x988.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-1194x1536.jpg 1194w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-1593x2048.jpg 1593w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Okamoto’s new cookbook has a recipe for udon noodles with peanut sauce, sheet pan nachos, cauliflower fried rice and vanilla buttercream frosting. There is an entire section on grains and legumes, ranging from amaranth to Mexican-style rice.\u003c/p>\n\u003cp>Meanwhile, her sopa de fideo — a tomato broth–based pasta dish — is a version of a meal I make for my kids about once a week based on a recipe I learned from my mother. Okamoto spruces hers up by adding diced zucchini and fresh tomatoes for texture and using vegetable broth instead of chicken bouillon. It takes less than 15 minutes to prepare and tastes like a bowl of grandma hugs. It’s also the kind of dish that can be reduced to a few steps or dressed up with a bit of extra effort, which reflects another one of the book’s themes: Make your food as easy and simple as you want, and level up as you see fit.\u003c/p>\n\u003cp>The release of \u003ci>Plant-Based on a Budget Quick & Easy\u003c/i> also coincides with a time of steep inflation. In 2022, \u003ca href=\"https://www.ers.usda.gov/data-products/food-price-outlook/summary-findings/\">food prices shot up by 10 percent\u003c/a> and \u003ca href=\"https://www.ers.usda.gov/data-products/ag-and-food-statistics-charting-the-essentials/food-prices-and-spending/?topicId=2b168260-a717-4708-a264-cb354e815c67#:~:text=In%202022%2C%20the%20share%20of,on%20food%20away%20from%20home.\">consumers spent 11.3 percent of their disposable income on food\u003c/a> — the sharpest leap ever recorded by the U.S. Department of Agriculture. And so the book also teaches readers how to master the basics with an eye toward frugality — properly stocking your pantry, cooking enough for multiple meals and planning ingredient lists ahead of time to avoid over-buying.\u003c/p>\n\u003cp>I talked to Okamoto about her journey as a vegan cook, her tips for eating more plants and how she fights the perception that veganism is mostly just for wealthy white people.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>\u003cb>Blanca Torres: There is a perception that healthy eating is expensive. What are your thoughts on that? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Toni Okamoto:\u003c/b> There has been this narrative that’s been created that processed food and fast food are the more inexpensive route to go. But when I teach people how to eat healthy and on a budget and to think beyond one meal, a light bulb will go off in their head. It will become clear that this is the cheapest way to be eating. I buy things like rice and beans, some frozen vegetables, some fruit like bananas and some sunflower seeds that can really stretch me the entire week, and I’ve shown countless people how to do it.\u003c/p>\n\u003cfigure id=\"attachment_13938180\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-scaled.jpg\" alt=\"A smiling woman in a white blouse holds up a grocery store receipt.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Okamoto shows off her budget-friendly meal planning skills. \u003ccite>(Michelle Cehn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Do you have basic tips that you start out with?\u003c/b>\u003c/p>\n\u003cp>I would start out by creating a meal plan and taking note of what you have in your pantry and your refrigerator already. Then I take a shopping list to the grocery store. It’s so stressful to go in there and see all the things that I want to buy. But if I stay the course, I will save a lot of money, which will ultimately make me happy. You can buy a whole large container of oats for about $2.50. I’ll do overnight oats with sliced banana and some raw sunflower seeds for breakfast. For my entrees throughout the work week, I’ll do something like a big pasta dish with some fruits and veggies, maybe a can of beans and marinara sauce. Very simple and also economical. Another idea would be chili using pantry staples like canned beans, canned corn, canned tomatoes. Those will all be inexpensive.\u003c/p>\n\u003cp>When I was on a very, very, extremely tight financial budget, living in a lot of debt, I chose to cook dried beans, and I would have to soak them the night before and then watch them on the stove for a few hours as they cooked. Now I don’t have that time and have a little bit more money, so I’m choosing cans.\u003c/p>\n\u003cp>\u003cb>You were vegetarian, and then you became vegan. How do you define being a vegan?\u003c/b>\u003c/p>\n\u003cp>[In college] I joined a vegetarian club on campus, solely so that I could receive extra credit. I found incredibly inspiring people who taught me that it was possible to be on a budget, to be tied culturally to food that you grew up eating and still be vegan.\u003c/p>\n\u003cp>\u003cb>Veganism often comes off as elitist or that it’s a “white people thing.” What are your thoughts on breaking those perceptions? \u003c/b>\u003c/p>\n\u003cp>Being vegan for the past 16 years, I see it is becoming far more diverse than ever. The Black community is \u003ca href=\"https://www.kqed.org/arts/13916044/sucka-free-soul-the-vegan-hood-chefs-honor-southern-heritage-with-a-frisco-twist\">leading\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13906738/malibus-burgers-vegan-diner-breakfast-oakland\">the way\u003c/a> for people becoming more interested in vegan living. And I think it’s now not only about the ethics of the environment or animals, but so many people are looking at their families and the suffering that they’ve experienced health-wise. I am so inspired by the vegans of color out there using their platforms to educate people on the benefits of plant-based eating.\u003c/p>\n\u003cfigure id=\"attachment_13938181\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Sesame-Ginger-Noodles.jpg\" alt=\"A bowl of sesame ginger noodles topped with tofu and sliced red pepper.\" width=\"1920\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-1536x1229.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Okamoto believes vegan dishes — like this bowl of sesame-ginger noodles — can and should reflect people’s cultural identities. \u003ccite>(Courtesy of BenBella Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why do you use the term “plant-based”? What do you think that means? \u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13928345,arts_13916044,arts_13910234']\u003c/span>\u003c/strong>\u003c/b>I wanted to create a resource that was as inclusive as possible. I originally started \u003ci>Plant-Based on a Budget\u003c/i> to solve some of the issues that my own family was experiencing. There was type 2 diabetes and heart disease that were causing so much suffering and sadness. We lost some family members to those things, and they experienced hardships before that, like heart attacks and amputations. I wanted to relieve some of the pain points like cost when it came to eating healthier and combating those diet-related health issues.\u003c/p>\n\u003cp>There are a lot of struggles that people are facing in their lives. And it’s so easy to think that someone doesn’t care about their nutrition or what their children are eating. But the fact is that people really do care. They just don’t have the skill set and the knowledge to change their habits.\u003c/p>\n\u003cp>\u003cb>How did your upbringing influence your cooking? \u003c/b>\u003c/p>\n\u003cp>When my dad came back from the Navy after being deployed, I went to live with him. And we lived sort of the bachelor life together. I started eating foods that were more processed and more convenient. My dad worked a lot trying to give us the best life possible, so we relied on convenient foods like a can of chili and hot dogs or Hamburger Helper, things like that. It wasn’t until I ran track in high school that I started feeling ill all the time, and my concerned coach suggested that I cut back on red meats and fast food so that I could perform better, feel healthier. It was the first time I thought about the food I ate and how it impacted my health.\u003c/p>\n\u003cfigure id=\"attachment_13938182\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Toni-Author-Photo.jpg\" alt=\"A woman seated outdoors next to a garden bed holds up a stalk of kale.\" width=\"1920\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-1536x942.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Okamoto believes most people can add more plant-based foods into their diet, even if it’s just one or two meals a week. \u003ccite>(Michelle Cehn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>At first, your family disagreed with your decision to stop eating meat. Now that your parents have come around, what is that like for you?\u003c/b>\u003c/p>\n\u003cp>Ultimately, I think there’s a mutual love and respect that we’ve shared for each other that wants us to continue being close. And they want to see me happy. They want to see me thriving, They want to see me healthy. And they know that this is the path I believe is going to make those things possible. So they support it. I appreciate how they’ve opened their minds and hearts. My parents no longer buy meat-based chorizo, they buy Soyrizo. If you knew my parents beforehand, you would also really appreciate that change.\u003c/p>\n\u003cp>\u003cb>Do you have any general guidance for people interested in expanding their diet to include more vegan foods?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You can start with Meatless Monday or “Vegan Before 6:00” or one or two vegan or vegetarian meals per week. Eating more plants is going to help your gut. It’s going to bring you more energy, provide your body with more nutrients, and those are all positive things. It’s about giving yourself space to make those changes and also grace when you’re not meeting your goals.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toni Okamoto spent most of her childhood in Sacramento with her Mexican grandmother and Japanese grandfather.\u003c/p>\n\u003cp>From her grandmother, she learned to cook calabasitas, sopa de fideo and tacos of all kinds. From her grandfather, she learned the value of cultivating your own ingredients — he returned to work on the family farm after surviving World War II internment camps.\u003c/p>\n\u003cp>Those influences now show up fondly in Okamato’s work as a vegan cook, a path she started in 2007, when she was 20 years old.\u003c/p>\n\u003cp>Earlier this year, she released her fourth cookbook, \u003ca href=\"https://www.penguinrandomhouse.com/books/718948/plant-based-on-a-budget-quick-and-easy-by-toni-okamoto-foreword-by-michael-greger/\">\u003ci>Plant-Based on a Budget Quick & Easy\u003c/i>\u003c/a>, which offers vegan recipes that are inexpensive and culturally relevant. She’s on a mission to re-educate people on how to cook better for their health, well-being and bank accounts while staying true to their identities.\u003c/p>\n\u003cp>In that way, Okamoto’s work echoes that of other Northern California cookbook authors including\u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\"> Bryant Terry\u003c/a>, Luz Calvo and Catriona Rueda Esquibel, whose \u003ca href=\"https://eastbayexpress.com/bay-area-professors-write-decolonial-mexican-cookbook-to-reclaim-the-traditional-foods-of-their-ancestors-2-1/\">decolonial approach\u003c/a> to cooking challenges the widely accepted narrative that cultural or “ethnic” foods are inherently unhealthy — and that they must showcase meat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13938179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover.jpg\" alt=\"\" width=\"1920\" height=\"2469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-1020x1312.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-768x988.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-1194x1536.jpg 1194w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Plant-BasedonaBudget-QuickandEasy_FrontCover-1593x2048.jpg 1593w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Okamoto’s new cookbook has a recipe for udon noodles with peanut sauce, sheet pan nachos, cauliflower fried rice and vanilla buttercream frosting. There is an entire section on grains and legumes, ranging from amaranth to Mexican-style rice.\u003c/p>\n\u003cp>Meanwhile, her sopa de fideo — a tomato broth–based pasta dish — is a version of a meal I make for my kids about once a week based on a recipe I learned from my mother. Okamoto spruces hers up by adding diced zucchini and fresh tomatoes for texture and using vegetable broth instead of chicken bouillon. It takes less than 15 minutes to prepare and tastes like a bowl of grandma hugs. It’s also the kind of dish that can be reduced to a few steps or dressed up with a bit of extra effort, which reflects another one of the book’s themes: Make your food as easy and simple as you want, and level up as you see fit.\u003c/p>\n\u003cp>The release of \u003ci>Plant-Based on a Budget Quick & Easy\u003c/i> also coincides with a time of steep inflation. In 2022, \u003ca href=\"https://www.ers.usda.gov/data-products/food-price-outlook/summary-findings/\">food prices shot up by 10 percent\u003c/a> and \u003ca href=\"https://www.ers.usda.gov/data-products/ag-and-food-statistics-charting-the-essentials/food-prices-and-spending/?topicId=2b168260-a717-4708-a264-cb354e815c67#:~:text=In%202022%2C%20the%20share%20of,on%20food%20away%20from%20home.\">consumers spent 11.3 percent of their disposable income on food\u003c/a> — the sharpest leap ever recorded by the U.S. Department of Agriculture. And so the book also teaches readers how to master the basics with an eye toward frugality — properly stocking your pantry, cooking enough for multiple meals and planning ingredient lists ahead of time to avoid over-buying.\u003c/p>\n\u003cp>I talked to Okamoto about her journey as a vegan cook, her tips for eating more plants and how she fights the perception that veganism is mostly just for wealthy white people.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>\u003cb>Blanca Torres: There is a perception that healthy eating is expensive. What are your thoughts on that? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Toni Okamoto:\u003c/b> There has been this narrative that’s been created that processed food and fast food are the more inexpensive route to go. But when I teach people how to eat healthy and on a budget and to think beyond one meal, a light bulb will go off in their head. It will become clear that this is the cheapest way to be eating. I buy things like rice and beans, some frozen vegetables, some fruit like bananas and some sunflower seeds that can really stretch me the entire week, and I’ve shown countless people how to do it.\u003c/p>\n\u003cfigure id=\"attachment_13938180\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-scaled.jpg\" alt=\"A smiling woman in a white blouse holds up a grocery store receipt.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Michelle-Meal-Plans-Last-Day-94-1-1-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Okamoto shows off her budget-friendly meal planning skills. \u003ccite>(Michelle Cehn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Do you have basic tips that you start out with?\u003c/b>\u003c/p>\n\u003cp>I would start out by creating a meal plan and taking note of what you have in your pantry and your refrigerator already. Then I take a shopping list to the grocery store. It’s so stressful to go in there and see all the things that I want to buy. But if I stay the course, I will save a lot of money, which will ultimately make me happy. You can buy a whole large container of oats for about $2.50. I’ll do overnight oats with sliced banana and some raw sunflower seeds for breakfast. For my entrees throughout the work week, I’ll do something like a big pasta dish with some fruits and veggies, maybe a can of beans and marinara sauce. Very simple and also economical. Another idea would be chili using pantry staples like canned beans, canned corn, canned tomatoes. Those will all be inexpensive.\u003c/p>\n\u003cp>When I was on a very, very, extremely tight financial budget, living in a lot of debt, I chose to cook dried beans, and I would have to soak them the night before and then watch them on the stove for a few hours as they cooked. Now I don’t have that time and have a little bit more money, so I’m choosing cans.\u003c/p>\n\u003cp>\u003cb>You were vegetarian, and then you became vegan. How do you define being a vegan?\u003c/b>\u003c/p>\n\u003cp>[In college] I joined a vegetarian club on campus, solely so that I could receive extra credit. I found incredibly inspiring people who taught me that it was possible to be on a budget, to be tied culturally to food that you grew up eating and still be vegan.\u003c/p>\n\u003cp>\u003cb>Veganism often comes off as elitist or that it’s a “white people thing.” What are your thoughts on breaking those perceptions? \u003c/b>\u003c/p>\n\u003cp>Being vegan for the past 16 years, I see it is becoming far more diverse than ever. The Black community is \u003ca href=\"https://www.kqed.org/arts/13916044/sucka-free-soul-the-vegan-hood-chefs-honor-southern-heritage-with-a-frisco-twist\">leading\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13906738/malibus-burgers-vegan-diner-breakfast-oakland\">the way\u003c/a> for people becoming more interested in vegan living. And I think it’s now not only about the ethics of the environment or animals, but so many people are looking at their families and the suffering that they’ve experienced health-wise. I am so inspired by the vegans of color out there using their platforms to educate people on the benefits of plant-based eating.\u003c/p>\n\u003cfigure id=\"attachment_13938181\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Sesame-Ginger-Noodles.jpg\" alt=\"A bowl of sesame ginger noodles topped with tofu and sliced red pepper.\" width=\"1920\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Sesame-Ginger-Noodles-1536x1229.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Okamoto believes vegan dishes — like this bowl of sesame-ginger noodles — can and should reflect people’s cultural identities. \u003ccite>(Courtesy of BenBella Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why do you use the term “plant-based”? What do you think that means? \u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>I wanted to create a resource that was as inclusive as possible. I originally started \u003ci>Plant-Based on a Budget\u003c/i> to solve some of the issues that my own family was experiencing. There was type 2 diabetes and heart disease that were causing so much suffering and sadness. We lost some family members to those things, and they experienced hardships before that, like heart attacks and amputations. I wanted to relieve some of the pain points like cost when it came to eating healthier and combating those diet-related health issues.\u003c/p>\n\u003cp>There are a lot of struggles that people are facing in their lives. And it’s so easy to think that someone doesn’t care about their nutrition or what their children are eating. But the fact is that people really do care. They just don’t have the skill set and the knowledge to change their habits.\u003c/p>\n\u003cp>\u003cb>How did your upbringing influence your cooking? \u003c/b>\u003c/p>\n\u003cp>When my dad came back from the Navy after being deployed, I went to live with him. And we lived sort of the bachelor life together. I started eating foods that were more processed and more convenient. My dad worked a lot trying to give us the best life possible, so we relied on convenient foods like a can of chili and hot dogs or Hamburger Helper, things like that. It wasn’t until I ran track in high school that I started feeling ill all the time, and my concerned coach suggested that I cut back on red meats and fast food so that I could perform better, feel healthier. It was the first time I thought about the food I ate and how it impacted my health.\u003c/p>\n\u003cfigure id=\"attachment_13938182\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Toni-Author-Photo.jpg\" alt=\"A woman seated outdoors next to a garden bed holds up a stalk of kale.\" width=\"1920\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Toni-Author-Photo-1536x942.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Okamoto believes most people can add more plant-based foods into their diet, even if it’s just one or two meals a week. \u003ccite>(Michelle Cehn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>At first, your family disagreed with your decision to stop eating meat. Now that your parents have come around, what is that like for you?\u003c/b>\u003c/p>\n\u003cp>Ultimately, I think there’s a mutual love and respect that we’ve shared for each other that wants us to continue being close. And they want to see me happy. They want to see me thriving, They want to see me healthy. And they know that this is the path I believe is going to make those things possible. So they support it. I appreciate how they’ve opened their minds and hearts. My parents no longer buy meat-based chorizo, they buy Soyrizo. If you knew my parents beforehand, you would also really appreciate that change.\u003c/p>\n\u003cp>\u003cb>Do you have any general guidance for people interested in expanding their diet to include more vegan foods?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can start with Meatless Monday or “Vegan Before 6:00” or one or two vegan or vegetarian meals per week. Eating more plants is going to help your gut. It’s going to bring you more energy, provide your body with more nutrients, and those are all positive things. It’s about giving yourself space to make those changes and also grace when you’re not meeting your goals.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This 91-Year-Old Japantown Legend Has One More Restaurant Up Her Sleeve",
"headTitle": "This 91-Year-Old Japantown Legend Has One More Restaurant Up Her Sleeve | KQED",
"content": "\u003cp>When Lena Turner \u003ca href=\"https://sf.eater.com/2021/1/29/22254711/takara-sf-japantown-permanent-closure-japan-center-kiss-seafood\" target=\"_blank\" rel=\"noopener noreferrer\">closed Takara, her 20-year-old Japantown restaurant, earlier this year\u003c/a> after a months-long rent dispute, it marked the end of an era. The restaurant was a favorite among locals who’d gotten hooked on its generous bento boxes, impeccably fried tempura and other unfussy, homestyle Japanese dishes. And Turner herself was, in many ways, the face of San Francisco’s Japantown. In 1976, she opened the Japan Center mall’s very first restaurant, Sapporo-ya Ramen. All of the local merchants knew her and had stories about how she’d regale them with tales of the time she served Yoko Ono, for instance.\u003c/p>\n\u003cp>Even at 91 years old, she didn’t even feel close to being ready to retire.\u003c/p>\n\u003cp>Everyone loves a good comeback story, though, and this one is sweeter than most: On Nov. 26, Turner will open a new omakase-style sushi restaurant called Sushi Aoba helmed by acclaimed sushi chef Sachio Kojima. Located on the edge of Japantown, in the former location of Kiss Seafood, it will be the seventh restaurant that Turner has opened in the neighborhood over the past four decades.\u003c/p>\n\u003cp>“I had jewelry shops before that,” she says. “I’ve done so much in my life.”\u003c/p>\n\u003cfigure id=\"attachment_13906472\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-scaled.jpg\" alt=\"Artfully arranged sashimi on a dark gray serving tray.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Artfully arranged sashimi will be part of the omakase experience at Sushi Aoba. \u003ccite>(Alex Zhu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In some ways, the new restaurant feels like a form of vindication, especially since the circumstances surrounding Takara’s closure were so grim. Like so many other businesses in the three Japan Center malls, Takara was forced to close entirely for several months at the start of the pandemic because the malls themselves weren’t open to the public. Still, 3D Investments, the Beverly Hills-based real estate developer that owns the Japan Center East and West buildings, insisted on charging the full rent and maintenance fees even for the time the malls were closed. In Takara’s case, that \u003ca href=\"https://sf.eater.com/2021/1/29/22254711/takara-sf-japantown-permanent-closure-japan-center-kiss-seafood\" target=\"_blank\" rel=\"noopener noreferrer\">came out to nearly $20,000 a month\u003c/a> during a time when the restaurant had no income whatsoever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Turner’s view, the rent disputes—which have affected nearly all of the 50 or so small businesses in the Japan Center malls—pose a threat to the entire neighborhood’s survival. “I think Japantown is no more,” she \u003ca href=\"https://sf.eater.com/21524071/japantown-japan-center-restaurants-sf-rent-negotiations-takara-kui-shin-bo\" target=\"_blank\" rel=\"noopener noreferrer\">told Eater SF at the time\u003c/a>.\u003c/p>\n\u003cp>In the end, Turner was able to negotiate a deal with the landlord that allowed her to exit her lease with a discounted back rent payment. “I just don’t like to owe anybody in my life,” Turner says. Meanwhile, she says, her peers in the Japan Center are still struggling to negotiate terms that will allow them to keep their businesses alive.\u003c/p>\n\u003cfigure id=\"attachment_13906470\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-scaled.jpg\" alt=\"A sushi chef holds a pair of long chopsticks behind the sushi counter.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sachio Kojima was considered San Francisco’s top sushi chef for much of the ’80s and ’90s. \u003ccite>(Alex Zhu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13906597\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-scaled.jpg\" alt=\"Bright orange uni nigiri served in a bowl with toasted seaweed and salmon roe.\" width=\"2560\" height=\"1441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Uni nigiri at Aoba. \u003ccite>(Alex Zhu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it opens this Friday, Turner’s new restaurant, Sushi Aoba, will have a very different vibe from Takara. The tiny dining room seats just 10 to 12 people at a time, and the only menu option will be a high-end omakase experience—$165 per person for a long sequence of sashimi, nigiri and elegant appetizers like chawanmushi.\u003c/p>\n\u003cp>[aside postID='arts_13896729,news_11837511']And Sachio Kojima, the chef Turner has hired to preside over the sushi counter, is something of a local legend in his own right: For much of the 1980s and ’90s, Kamio was “the acknowledged master of sushi in San Francisco,” as \u003ci>SF Weekly\u003c/i> put it in a \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/hecho-sushi-and-tequila-make-strange-bedfellows/Content?oid=2184436\" target=\"_blank\" rel=\"noopener noreferrer\">2012 review\u003c/a>, and his restaurant, \u003ca href=\"http://kabutosf.com/\">Kabuto\u003c/a>, was often touted as the best sushi restaurant in the city. After a six-year sojourn in Shasta County, Kojima could most recently be found working the sushi counter at well-respected spots like Sausalito’s Sushi Ran and Michelin-starred Omakase in the Design District. At Aoba, he’ll once again run the whole show.\u003c/p>\n\u003cp>“I was just looking for the best chef,” Turner says. “Japanese people, everybody knows about Sachio.”\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>\u003ci>Aoba will be open at 700 Laguna St. in San Francisco, Tuesday–Saturday, 5–9pm, starting Nov. 26. Call 415-517-1339 to make a reservation. See the opening menu below:\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13906473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aoba-menu-scaled.jpg\" alt=\"The menu for Sushi Aoba.\" width=\"1978\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-scaled.jpg 1978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1020x1320.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-768x994.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1187x1536.jpg 1187w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1583x2048.jpg 1583w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1920x2485.jpg 1920w\" sizes=\"(max-width: 1978px) 100vw, 1978px\">\u003c/p>\n\n",
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"excerpt": "Aoba, a new sushi spot, opens after a COVID-era rent dispute shut down Lena Turner’s last restaurant, Takara.",
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"description": "Aoba, a new sushi spot, opens after a COVID-era rent dispute shut down Lena Turner’s last restaurant, Takara.",
"title": "This 91-Year-Old Japantown Legend Has One More Restaurant Up Her Sleeve | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Lena Turner \u003ca href=\"https://sf.eater.com/2021/1/29/22254711/takara-sf-japantown-permanent-closure-japan-center-kiss-seafood\" target=\"_blank\" rel=\"noopener noreferrer\">closed Takara, her 20-year-old Japantown restaurant, earlier this year\u003c/a> after a months-long rent dispute, it marked the end of an era. The restaurant was a favorite among locals who’d gotten hooked on its generous bento boxes, impeccably fried tempura and other unfussy, homestyle Japanese dishes. And Turner herself was, in many ways, the face of San Francisco’s Japantown. In 1976, she opened the Japan Center mall’s very first restaurant, Sapporo-ya Ramen. All of the local merchants knew her and had stories about how she’d regale them with tales of the time she served Yoko Ono, for instance.\u003c/p>\n\u003cp>Even at 91 years old, she didn’t even feel close to being ready to retire.\u003c/p>\n\u003cp>Everyone loves a good comeback story, though, and this one is sweeter than most: On Nov. 26, Turner will open a new omakase-style sushi restaurant called Sushi Aoba helmed by acclaimed sushi chef Sachio Kojima. Located on the edge of Japantown, in the former location of Kiss Seafood, it will be the seventh restaurant that Turner has opened in the neighborhood over the past four decades.\u003c/p>\n\u003cp>“I had jewelry shops before that,” she says. “I’ve done so much in my life.”\u003c/p>\n\u003cfigure id=\"attachment_13906472\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-scaled.jpg\" alt=\"Artfully arranged sashimi on a dark gray serving tray.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_sashimi_alex-zhu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Artfully arranged sashimi will be part of the omakase experience at Sushi Aoba. \u003ccite>(Alex Zhu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In some ways, the new restaurant feels like a form of vindication, especially since the circumstances surrounding Takara’s closure were so grim. Like so many other businesses in the three Japan Center malls, Takara was forced to close entirely for several months at the start of the pandemic because the malls themselves weren’t open to the public. Still, 3D Investments, the Beverly Hills-based real estate developer that owns the Japan Center East and West buildings, insisted on charging the full rent and maintenance fees even for the time the malls were closed. In Takara’s case, that \u003ca href=\"https://sf.eater.com/2021/1/29/22254711/takara-sf-japantown-permanent-closure-japan-center-kiss-seafood\" target=\"_blank\" rel=\"noopener noreferrer\">came out to nearly $20,000 a month\u003c/a> during a time when the restaurant had no income whatsoever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Turner’s view, the rent disputes—which have affected nearly all of the 50 or so small businesses in the Japan Center malls—pose a threat to the entire neighborhood’s survival. “I think Japantown is no more,” she \u003ca href=\"https://sf.eater.com/21524071/japantown-japan-center-restaurants-sf-rent-negotiations-takara-kui-shin-bo\" target=\"_blank\" rel=\"noopener noreferrer\">told Eater SF at the time\u003c/a>.\u003c/p>\n\u003cp>In the end, Turner was able to negotiate a deal with the landlord that allowed her to exit her lease with a discounted back rent payment. “I just don’t like to owe anybody in my life,” Turner says. Meanwhile, she says, her peers in the Japan Center are still struggling to negotiate terms that will allow them to keep their businesses alive.\u003c/p>\n\u003cfigure id=\"attachment_13906470\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-scaled.jpg\" alt=\"A sushi chef holds a pair of long chopsticks behind the sushi counter.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_chef-sachio_alex-zhu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sachio Kojima was considered San Francisco’s top sushi chef for much of the ’80s and ’90s. \u003ccite>(Alex Zhu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13906597\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-scaled.jpg\" alt=\"Bright orange uni nigiri served in a bowl with toasted seaweed and salmon roe.\" width=\"2560\" height=\"1441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Aoba_uni_alex-zhu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Uni nigiri at Aoba. \u003ccite>(Alex Zhu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it opens this Friday, Turner’s new restaurant, Sushi Aoba, will have a very different vibe from Takara. The tiny dining room seats just 10 to 12 people at a time, and the only menu option will be a high-end omakase experience—$165 per person for a long sequence of sashimi, nigiri and elegant appetizers like chawanmushi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And Sachio Kojima, the chef Turner has hired to preside over the sushi counter, is something of a local legend in his own right: For much of the 1980s and ’90s, Kamio was “the acknowledged master of sushi in San Francisco,” as \u003ci>SF Weekly\u003c/i> put it in a \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/hecho-sushi-and-tequila-make-strange-bedfellows/Content?oid=2184436\" target=\"_blank\" rel=\"noopener noreferrer\">2012 review\u003c/a>, and his restaurant, \u003ca href=\"http://kabutosf.com/\">Kabuto\u003c/a>, was often touted as the best sushi restaurant in the city. After a six-year sojourn in Shasta County, Kojima could most recently be found working the sushi counter at well-respected spots like Sausalito’s Sushi Ran and Michelin-starred Omakase in the Design District. At Aoba, he’ll once again run the whole show.\u003c/p>\n\u003cp>“I was just looking for the best chef,” Turner says. “Japanese people, everybody knows about Sachio.”\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>\u003ci>Aoba will be open at 700 Laguna St. in San Francisco, Tuesday–Saturday, 5–9pm, starting Nov. 26. Call 415-517-1339 to make a reservation. See the opening menu below:\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13906473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aoba-menu-scaled.jpg\" alt=\"The menu for Sushi Aoba.\" width=\"1978\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-scaled.jpg 1978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1020x1320.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-768x994.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1187x1536.jpg 1187w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1583x2048.jpg 1583w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aoba-menu-1920x2485.jpg 1920w\" sizes=\"(max-width: 1978px) 100vw, 1978px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Japantown’s New Korean-Inspired Bakery Is Spreading the Gospel of Kalbijjim Croissants",
"headTitle": "Japantown’s New Korean-Inspired Bakery Is Spreading the Gospel of Kalbijjim Croissants | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">When pastry chef Jina Kim first collaborated with \u003c/span>\u003ca href=\"https://www.instagram.com/daeho_official/?hl=en\">\u003cspan style=\"font-weight: 400\">Daeho Kalbijjim & Beef Soup\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> earlier this year to create a \u003c/span>\u003ca href=\"https://sf.eater.com/2021/1/26/22249238/jina-bakes-daeho-kalbijjim-croissant-japantown-sf\">\u003cspan style=\"font-weight: 400\">croissant version\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of the restaurant’s runaway hit kalbijjim short rib stew, she’d hoped that the pastries would be a success. After all, Daeho’s spicy-sweet, \u003c/span>\u003ca href=\"https://www.instagram.com/p/CSpYvAlJAOS/\">\u003cspan style=\"font-weight: 400\">delightfully cheesy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> version of the Korean classic had become one of the most sought after dishes in San Francisco. What Kim didn’t necessarily anticipate, however, was that a half year after their debut, the kalbijjim croissants would have a dedicated following all their own—that customers would line up for an hour at Kim’s Japantown bakery, \u003c/span>\u003ca href=\"https://www.instagram.com/jinabakes/\">\u003cspan style=\"font-weight: 400\">Jina Bakes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and, in some cases, snatch up a dozen of the meaty pastries in one fell swoop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Make no mistake: The kalbijjim croissants are poised to become the next big thing in the Bay Area pastry world. And now, Kim is ready to introduce local pastry lovers to her whole lineup of other creative Korean- and Japanese-inflected treats. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902817\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902817\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/jinabakes_exterior-scaled.jpg\" alt='A line of customers waits outside of a bakery; the sign above reads \"jina bakes.\"' width=\"2560\" height=\"1484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-1536x890.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-2048x1187.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-1920x1113.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The line of customers during Jina Bakes’ soft opening weekend. \u003ccite>(Jina Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">After a year of pandemic takeout boxes, construction delays and occasional in-person pop-ups, Jina Bakes finally opened its Japan Center storefront in late August. The bakery has been in “soft opening” mode on weekends only for the past two weeks, limiting both its hours of operation and the number of pastries that customers can purchase at one time. Starting next week, the shop will be open on Fridays as well, with the goal, Kim says, of eventually opening five days a week.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902819\" class=\"wp-caption alignright\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902819\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo.jpg\" alt=\"A square croissant topped with stretchy Korean rice cake dusted with roasted soybean poweder.\" width=\"1366\" height=\"1627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-800x953.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-1020x1215.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-768x915.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-1290x1536.jpg 1290w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">The injeolmi croissant is inspired by one of the pastry chef’s favorite Korean treats. \u003ccite>(Christine Yoo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Customers who have been buying Jina Bakes’ pastries since the early days of the pandemic already know the bakery has a lot more to offer beyond its signature item. Prior to starting her business, Kim’s background had primarily been in French and Japanese pastry, but the wild, unexpected success of the kalbijjim croissant emboldened her to create other pastries that reflect her own heritage. “I started wanting to do more Korean things,” Kim says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’s added one additional Korean item inspired by injeolmi, a kind of sweet Korean sweet rice cake that was always Kim’s favorite special occasion treat. At Jina Bakes, she makes the rice cakes in-house, cuts them into squares and bakes them on top of square croissants, dusting the injeolmi afterwards with powdered sugar and roasted soybean powder. The best thing about these injeolmi croissants, Kim says, is that the rice cakes are wonderfully stretchy when they’re warm, so you get that gooey \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=2ZdgaBdBhyE\">\u003cspan style=\"font-weight: 400\">“cheese pull” effect\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that many Koreans and Korean Americans admire. (It’s part of the kalbijjim croissant’s appeal as well—and one of the reasons the bakery has a dedicated oven for reheating pastries.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902822\" class=\"wp-caption alignleft\" style=\"max-width: 2109px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/jinabakes_drinks-scaled.jpg\" alt=\"Three coffee drinks on a countertop, variously topped with whipped cream and honeycomb toffee candy.\" width=\"2109\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-scaled.jpg 2109w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1265x1536.jpg 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1687x2048.jpg 1687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1920x2331.jpg 1920w\" sizes=\"(max-width: 2109px) 100vw, 2109px\">\u003cfigcaption class=\"wp-caption-text\">A lineup of the bakery’s signature coffee drinks, including the Einspänner (left) and the honeycomb toffee latte (center). \u003ccite>(Jina Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other staples on the opening menu include a more traditionally French croissant, chocolate croissant and kouign-amann, plus a variety of cream puffs that feature Japanese flavors like matcha, hojicha and black sesame. It’s a pastry-heavy lineup for now, but Kim says she eventually wants to do more cakes and desserts, including individual-portion cakes—pound cakes, cheesecake slices and more.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With COVID concerns still very much front of mind, Jina Bakes won’t yet open up its indoor seating area. But eventually it should offer the kind of experience you’d expect at one of Seoul’s many stylish cafes, right down to the distinctly Korean coffee offerings. For instance, one of Kim’s honeycomb toffee latte is an iced latte that features chunks of housemade dalgona, a kind of Korean toffee that looks like pieces of honeycomb. (The trendy whipped coffee drink called “dalgona coffee” that went viral on \u003c/span>\u003ca href=\"https://www.latimes.com/food/story/2020-03-13/dalgona-iced-coffee-south-korea-isolation\">\u003cspan style=\"font-weight: 400\">Korean TikTok and Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> during the early stages of the pandemic was named after its resemblance to the dalgona candy. “This is the real dalgona coffee,” Kim says.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bakery will also serve Einspänners, affogato-like espresso drinks topped with loads of whipped cream. Viennese in origin, the drinks are highly popular in South Korea right now, Kim says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13896729']Although \u003c/span>\u003ca href=\"https://sf.eater.com/21524071/japantown-japan-center-restaurants-sf-rent-negotiations-takara-kui-shin-bo\">\u003cspan style=\"font-weight: 400\">Japan Center food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—and Japantown as a whole—have \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13896729/benkyodo-mochi-on-the-bridge-sf-japantown-covid\">\u003cspan style=\"font-weight: 400\">struggled during the pandemic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Kim did steady business with her biweekly “\u003c/span>\u003ca href=\"https://www.instagram.com/p/CGNhAbqjnqF/\">\u003cspan style=\"font-weight: 400\">quarantine boxes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” all through the most difficult months of the shutdown. Indeed, part of the reason she hasn’t been able to extend her hours yet is because she keeps selling out too quickly—after just two hours each day during the bakery’s first weekend of business.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For her part, Kim says she’s been pleasantly surprised by the turnout and, especially, the wide range of customers who have shown up and stood in line to buy her pastries: “I was like, ‘Oh, how did they know about me?’”\u003c/span>\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>\u003ca href=\"https://www.instagram.com/jinabakes/\">\u003ci>\u003cspan style=\"font-weight: 400\">Jina Bakes\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is located on the first floor of Japan Center West, at 1581 Webster Street, Ste. 150, in San Francisco. During its soft opening period, it’s open Saturdays and Sundays only (and Fridays, starting on Sept. 17), 10am–2pm (or until sold out). \u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "Jina Bakes is ready to fully open in the Japan Center Mall after a year of pop-ups and pandemic takeout boxes.",
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"title": "Japantown’s New Korean-Inspired Bakery Is Spreading the Gospel of Kalbijjim Croissants | KQED",
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"headline": "Japantown’s New Korean-Inspired Bakery Is Spreading the Gospel of Kalbijjim Croissants",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">When pastry chef Jina Kim first collaborated with \u003c/span>\u003ca href=\"https://www.instagram.com/daeho_official/?hl=en\">\u003cspan style=\"font-weight: 400\">Daeho Kalbijjim & Beef Soup\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> earlier this year to create a \u003c/span>\u003ca href=\"https://sf.eater.com/2021/1/26/22249238/jina-bakes-daeho-kalbijjim-croissant-japantown-sf\">\u003cspan style=\"font-weight: 400\">croissant version\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of the restaurant’s runaway hit kalbijjim short rib stew, she’d hoped that the pastries would be a success. After all, Daeho’s spicy-sweet, \u003c/span>\u003ca href=\"https://www.instagram.com/p/CSpYvAlJAOS/\">\u003cspan style=\"font-weight: 400\">delightfully cheesy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> version of the Korean classic had become one of the most sought after dishes in San Francisco. What Kim didn’t necessarily anticipate, however, was that a half year after their debut, the kalbijjim croissants would have a dedicated following all their own—that customers would line up for an hour at Kim’s Japantown bakery, \u003c/span>\u003ca href=\"https://www.instagram.com/jinabakes/\">\u003cspan style=\"font-weight: 400\">Jina Bakes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and, in some cases, snatch up a dozen of the meaty pastries in one fell swoop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Make no mistake: The kalbijjim croissants are poised to become the next big thing in the Bay Area pastry world. And now, Kim is ready to introduce local pastry lovers to her whole lineup of other creative Korean- and Japanese-inflected treats. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902817\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902817\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/jinabakes_exterior-scaled.jpg\" alt='A line of customers waits outside of a bakery; the sign above reads \"jina bakes.\"' width=\"2560\" height=\"1484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-1536x890.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-2048x1187.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_exterior-1920x1113.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The line of customers during Jina Bakes’ soft opening weekend. \u003ccite>(Jina Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">After a year of pandemic takeout boxes, construction delays and occasional in-person pop-ups, Jina Bakes finally opened its Japan Center storefront in late August. The bakery has been in “soft opening” mode on weekends only for the past two weeks, limiting both its hours of operation and the number of pastries that customers can purchase at one time. Starting next week, the shop will be open on Fridays as well, with the goal, Kim says, of eventually opening five days a week.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902819\" class=\"wp-caption alignright\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902819\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo.jpg\" alt=\"A square croissant topped with stretchy Korean rice cake dusted with roasted soybean poweder.\" width=\"1366\" height=\"1627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-800x953.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-1020x1215.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-768x915.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_injeolmi_christinecyoo-1290x1536.jpg 1290w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">The injeolmi croissant is inspired by one of the pastry chef’s favorite Korean treats. \u003ccite>(Christine Yoo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Customers who have been buying Jina Bakes’ pastries since the early days of the pandemic already know the bakery has a lot more to offer beyond its signature item. Prior to starting her business, Kim’s background had primarily been in French and Japanese pastry, but the wild, unexpected success of the kalbijjim croissant emboldened her to create other pastries that reflect her own heritage. “I started wanting to do more Korean things,” Kim says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’s added one additional Korean item inspired by injeolmi, a kind of sweet Korean sweet rice cake that was always Kim’s favorite special occasion treat. At Jina Bakes, she makes the rice cakes in-house, cuts them into squares and bakes them on top of square croissants, dusting the injeolmi afterwards with powdered sugar and roasted soybean powder. The best thing about these injeolmi croissants, Kim says, is that the rice cakes are wonderfully stretchy when they’re warm, so you get that gooey \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=2ZdgaBdBhyE\">\u003cspan style=\"font-weight: 400\">“cheese pull” effect\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that many Koreans and Korean Americans admire. (It’s part of the kalbijjim croissant’s appeal as well—and one of the reasons the bakery has a dedicated oven for reheating pastries.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902822\" class=\"wp-caption alignleft\" style=\"max-width: 2109px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/jinabakes_drinks-scaled.jpg\" alt=\"Three coffee drinks on a countertop, variously topped with whipped cream and honeycomb toffee candy.\" width=\"2109\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-scaled.jpg 2109w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1265x1536.jpg 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1687x2048.jpg 1687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/jinabakes_drinks-1920x2331.jpg 1920w\" sizes=\"(max-width: 2109px) 100vw, 2109px\">\u003cfigcaption class=\"wp-caption-text\">A lineup of the bakery’s signature coffee drinks, including the Einspänner (left) and the honeycomb toffee latte (center). \u003ccite>(Jina Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other staples on the opening menu include a more traditionally French croissant, chocolate croissant and kouign-amann, plus a variety of cream puffs that feature Japanese flavors like matcha, hojicha and black sesame. It’s a pastry-heavy lineup for now, but Kim says she eventually wants to do more cakes and desserts, including individual-portion cakes—pound cakes, cheesecake slices and more.\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\">With COVID concerns still very much front of mind, Jina Bakes won’t yet open up its indoor seating area. But eventually it should offer the kind of experience you’d expect at one of Seoul’s many stylish cafes, right down to the distinctly Korean coffee offerings. For instance, one of Kim’s honeycomb toffee latte is an iced latte that features chunks of housemade dalgona, a kind of Korean toffee that looks like pieces of honeycomb. (The trendy whipped coffee drink called “dalgona coffee” that went viral on \u003c/span>\u003ca href=\"https://www.latimes.com/food/story/2020-03-13/dalgona-iced-coffee-south-korea-isolation\">\u003cspan style=\"font-weight: 400\">Korean TikTok and Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> during the early stages of the pandemic was named after its resemblance to the dalgona candy. “This is the real dalgona coffee,” Kim says.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bakery will also serve Einspänners, affogato-like espresso drinks topped with loads of whipped cream. Viennese in origin, the drinks are highly popular in South Korea right now, Kim says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although \u003c/span>\u003ca href=\"https://sf.eater.com/21524071/japantown-japan-center-restaurants-sf-rent-negotiations-takara-kui-shin-bo\">\u003cspan style=\"font-weight: 400\">Japan Center food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—and Japantown as a whole—have \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13896729/benkyodo-mochi-on-the-bridge-sf-japantown-covid\">\u003cspan style=\"font-weight: 400\">struggled during the pandemic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Kim did steady business with her biweekly “\u003c/span>\u003ca href=\"https://www.instagram.com/p/CGNhAbqjnqF/\">\u003cspan style=\"font-weight: 400\">quarantine boxes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” all through the most difficult months of the shutdown. Indeed, part of the reason she hasn’t been able to extend her hours yet is because she keeps selling out too quickly—after just two hours each day during the bakery’s first weekend of business.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For her part, Kim says she’s been pleasantly surprised by the turnout and, especially, the wide range of customers who have shown up and stood in line to buy her pastries: “I was like, ‘Oh, how did they know about me?’”\u003c/span>\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>\u003ca href=\"https://www.instagram.com/jinabakes/\">\u003ci>\u003cspan style=\"font-weight: 400\">Jina Bakes\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is located on the first floor of Japan Center West, at 1581 Webster Street, Ste. 150, in San Francisco. During its soft opening period, it’s open Saturdays and Sundays only (and Fridays, starting on Sept. 17), 10am–2pm (or until sold out). \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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