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"content": "\u003cp>From East San José, Paolo “Cutso” Bello has been a producer and DJ in the music scene for over 30 years. While he’s performed all across the Bay Area, without a doubt, \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> is his home. From house parties, bar mitzvahs and weddings to festivals, clubs, and competitions, Cutso has not only contributed to the city’s arts and culture landscape, he’s watched it evolve. \u003c/p>\n\u003cp>On Wednesday, Cutso helps kick off a week of festivities for San José Day, DJing at an exhibit with work from more than 100 artists at the Noble Workshop and Gallery from 5–9 p.m. Other events during the week include a photo walk, flash tattoo special, bike night and fashion showcase, leading up to Saturday’s big celebration with vendors, live music and performances at Creekside in San José. \u003c/p>\n\u003cp>Since the week celebrates all things San José, KQED Arts asked Cutso for his Top 5 San José anthems — songs that never fail to get the city energized. In no particular order, here are his picks. \u003c/p>\n\u003ch2>MC Twist, ‘I Like it Loud’\u003c/h2>\n\n\u003cp>https://www.youtube.com/watch?v=iU0KPp41M5A&list=RDiU0KPp41M5A&start_radio=1\u003c/p>\n\u003cp>With his LL Cool J-esque style, local rapper MC Twist’s “I Like it Loud” wastes little time before shouting out East San José in its introduction. It’s a record many San José DJs use in their own intros: “This is the house I rock today, and I chill in the East Side of San José.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s our flagship song, yo,” Cutso says. “MC Twist ‘I Like it Loud’ – that’s a big one for San José.”\u003c/p>\n\u003ch2>Stevie B, ‘Spring Love’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DsQtMK4P9Rg&list=RDDsQtMK4P9Rg&start_radio=1\u003c/p>\n\u003cp>Lisa Lisa from Lisa Lisa and Cult Jam, one of New York City’s first Latin freestyle stars, once told Cutso that San José had always been a hotbed for freestyle. Having grown up with freestyle music, that conversation only reaffirmed what he already knew – freestyle music is rooted deep in San José culture. \u003c/p>\n\u003cp>“That is the anthem that really speaks to generations born and raised in San José,” Custo says. “You ask anybody from San José what’s the first freestyle song that pops in their head, it’s ‘Spring Love.’”\u003c/p>\n\u003ch2>Rey Resurreccion, ‘The Hometown’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=7r0GuYEbeJ8\u003c/p>\n\u003cp>Produced by Cutso during what he refers to as his city’s “streetwear and art renaissance,” “The Hometown” captures the nostalgia of growing up surrounded by San José culture. \u003c/p>\n\u003cp>“We didn’t even set out to make that song an anthem,” he tells KQED. “We were just like, ‘Let’s just make a song about San José.’ I sampled a banda record and made that as a joke, and Rey was like, ‘Yo, let me try messing with that one.’ So, he ended up writing a song about growing up in San José, and it spoke to a lot of people who grew up in San José.”\u003c/p>\n\u003ch2>Traxamillion ft. Too Short and Mistah F.A.B, ‘Sideshow’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=h4d7UwaNrIQ&list=RDh4d7UwaNrIQ&start_radio=1\u003c/p>\n\u003cp>While “Sideshow” pays homage to Oakland street culture, the track’s roots can be traced back to San José’s \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound/?\">Traxamillion\u003c/a>, who helped solidify San José as an anchor of the Bay Area hip-hop scene. \u003c/p>\n\u003cp>“He was heavily involved in the hyphy scene, and that was a big thing in San José. I saw a lot of my underground rap friends from San José turn into hyphy rappers overnight,” Cutso says. “Traxamillion was part of that scene. He was really driving the San José sect of the hyphy scene, producing for a lot of big cats out in Oakland and San Francisco, and really helping drive the movement.”\u003c/p>\n\u003ch2>Brenton Wood, ‘Gimmie Little Sign’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=bSMiqJSb0Zs&list=RDbSMiqJSb0Zs&start_radio=1\u003c/p>\n\u003cp>San José is synonymous with lowrider culture, so it only makes sense that one of Cutso’s picks is a staple of lowrider cruises. \u003c/p>\n\u003cp>“Oldies culture and lowrider culture was such a big thing,” Cutso says. “There’s so many artists I could have picked from that whole pool, but Brenton Wood was the first one to come to mind, just because I’d seen him live numerous times in San José.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Day events run April 8–12 at various locations, with San José Day itself taking place on Saturday, April 11, at Creekside (52 Barack Obama Blvd., San José). \u003ca href=\"https://www.sanjoseday.org/\">More information can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From East San José, Paolo “Cutso” Bello has been a producer and DJ in the music scene for over 30 years. While he’s performed all across the Bay Area, without a doubt, \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> is his home. From house parties, bar mitzvahs and weddings to festivals, clubs, and competitions, Cutso has not only contributed to the city’s arts and culture landscape, he’s watched it evolve. \u003c/p>\n\u003cp>On Wednesday, Cutso helps kick off a week of festivities for San José Day, DJing at an exhibit with work from more than 100 artists at the Noble Workshop and Gallery from 5–9 p.m. Other events during the week include a photo walk, flash tattoo special, bike night and fashion showcase, leading up to Saturday’s big celebration with vendors, live music and performances at Creekside in San José. \u003c/p>\n\u003cp>Since the week celebrates all things San José, KQED Arts asked Cutso for his Top 5 San José anthems — songs that never fail to get the city energized. In no particular order, here are his picks. \u003c/p>\n\u003ch2>MC Twist, ‘I Like it Loud’\u003c/h2>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iU0KPp41M5A'\n title='//www.youtube.com/embed/iU0KPp41M5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With his LL Cool J-esque style, local rapper MC Twist’s “I Like it Loud” wastes little time before shouting out East San José in its introduction. It’s a record many San José DJs use in their own intros: “This is the house I rock today, and I chill in the East Side of San José.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s our flagship song, yo,” Cutso says. “MC Twist ‘I Like it Loud’ – that’s a big one for San José.”\u003c/p>\n\u003ch2>Stevie B, ‘Spring Love’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DsQtMK4P9Rg'\n title='//www.youtube.com/embed/DsQtMK4P9Rg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lisa Lisa from Lisa Lisa and Cult Jam, one of New York City’s first Latin freestyle stars, once told Cutso that San José had always been a hotbed for freestyle. Having grown up with freestyle music, that conversation only reaffirmed what he already knew – freestyle music is rooted deep in San José culture. \u003c/p>\n\u003cp>“That is the anthem that really speaks to generations born and raised in San José,” Custo says. “You ask anybody from San José what’s the first freestyle song that pops in their head, it’s ‘Spring Love.’”\u003c/p>\n\u003ch2>Rey Resurreccion, ‘The Hometown’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7r0GuYEbeJ8'\n title='//www.youtube.com/embed/7r0GuYEbeJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Produced by Cutso during what he refers to as his city’s “streetwear and art renaissance,” “The Hometown” captures the nostalgia of growing up surrounded by San José culture. \u003c/p>\n\u003cp>“We didn’t even set out to make that song an anthem,” he tells KQED. “We were just like, ‘Let’s just make a song about San José.’ I sampled a banda record and made that as a joke, and Rey was like, ‘Yo, let me try messing with that one.’ So, he ended up writing a song about growing up in San José, and it spoke to a lot of people who grew up in San José.”\u003c/p>\n\u003ch2>Traxamillion ft. Too Short and Mistah F.A.B, ‘Sideshow’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h4d7UwaNrIQ'\n title='//www.youtube.com/embed/h4d7UwaNrIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While “Sideshow” pays homage to Oakland street culture, the track’s roots can be traced back to San José’s \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound/?\">Traxamillion\u003c/a>, who helped solidify San José as an anchor of the Bay Area hip-hop scene. \u003c/p>\n\u003cp>“He was heavily involved in the hyphy scene, and that was a big thing in San José. I saw a lot of my underground rap friends from San José turn into hyphy rappers overnight,” Cutso says. “Traxamillion was part of that scene. He was really driving the San José sect of the hyphy scene, producing for a lot of big cats out in Oakland and San Francisco, and really helping drive the movement.”\u003c/p>\n\u003ch2>Brenton Wood, ‘Gimmie Little Sign’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bSMiqJSb0Zs'\n title='//www.youtube.com/embed/bSMiqJSb0Zs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San José is synonymous with lowrider culture, so it only makes sense that one of Cutso’s picks is a staple of lowrider cruises. \u003c/p>\n\u003cp>“Oldies culture and lowrider culture was such a big thing,” Cutso says. “There’s so many artists I could have picked from that whole pool, but Brenton Wood was the first one to come to mind, just because I’d seen him live numerous times in San José.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Day events run April 8–12 at various locations, with San José Day itself taking place on Saturday, April 11, at Creekside (52 Barack Obama Blvd., San José). \u003ca href=\"https://www.sanjoseday.org/\">More information can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As an educator, \u003ca href=\"https://www.tricia-speaks.com/\">Tricia Creason-Valencia\u003c/a> works to empower young people’s creative drive. In her classroom she often asks two questions together. First, “How many of you have a background in photography?” Most, if not all, stay silent, shaking their heads. She follows up with, “How many of you use Instagram?”\u003c/p>\n\u003cp>At this point, all hands raise. Creason-Valencia has shifted their perspective — art exists everywhere and they can be artists in their own way, even if they don’t realize it.\u003c/p>\n\u003cp>[aside postID='arts_13987600' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0329.jpg']This concept embodies the goal of the South Bay’s \u003ca href=\"https://www.wecreate408.org/\">We Create 408\u003c/a> challenge. Returning for its eighth year, the project poses weekly challenges to bring creativity into participants’ everyday activities.\u003c/p>\n\u003cp>“We’re asking regular everyday people to tap into the ways that they’re creative,” Creason-Valencia tells KQED. “We’re giving them a container for doing that.”\u003c/p>\n\u003cp>The filmmaker and educator is one of San José’s \u003ca href=\"https://www.sanjoseca.gov/your-government/departments-offices/cultural-affairs/participate/creative-ambassadors/2026-creative-ambassadors\">2026 Creative Ambassadors\u003c/a>. Using mediums like photography, videography, audio storytelling and poetry, Creason-Valencia has hosted workshops, conferences and has taught at various universities and high schools across the Bay Area. Her work focuses on personal identity through the exploration of art, which makes her a perfect spokesperson for We Create 408.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A coalition composed of San José’s arts and culture leaders and institutions worked together on this year’s challenge. Four themes unfold across each week in April: play, San José love, nurture, and nature. The challenge is also timed for California’s \u003ca href=\"https://www.caforthearts.org/accm-2026\">Arts, Culture and Creativity Month\u003c/a>.\u003c/p>\n\u003cp>Participants are encouraged to submit their work via email, or by using the #WeCreate408 hashtag on social media to be part of the project website’s \u003ca href=\"https://www.wecreate408.org/wall-of-creativity/\">wall of creativity\u003c/a> and enter a chance to win prizes from the city.\u003c/p>\n\u003cp>“This is really a coalition-driven campaign,” says Danielle Siembieda, senior program manager for the San José Office of Development and Economic Affairs. “Everybody has pitched in and given tickets, swag bags, artist prints and gift cards to the campaign to make those incentives, but also to get people out about and really being able to support our local creative economy.”\u003c/p>\n\u003cp>A supplementary curriculum is also provided by the coalition, detailing lesson plans for pre-K through fifth grade educators.\u003c/p>\n\u003cfigure id=\"attachment_13988282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000.jpg\" alt=\"smiling people with art supplies across several outdoor tables at cafe\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People at the first meetup of this year’s We Create 408 campaign, on April 1, 2026. \u003ccite>(Danielle Siembieda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the first week of April, “Take a Play Walk,” had participants looking for everyday, “hidden” works of art around the South Bay. They either had to sketch the shapes, grab photos or images, or write a three-sentence “found poem” about their discoveries.\u003c/p>\n\u003cp>Longtime San José resident \u003ca href=\"https://www.judyrookstoolart.com/about-me\">Judy Rookstool\u003c/a> has been participating in the challenge since 2021 and was the first to submit a poem.\u003c/p>\n\u003cp>Her main medium is acrylic paint, but for the first week, she decided to write instead, to challenge herself. Trying something in a new direction is something she’s familiar with, as an artist who started practicing “late in life.”\u003c/p>\n\u003cp>“We Create 408 is a way to break the ice,” Rookstool says. “There’s no threat. For example, the creativity wall doesn’t even attach names to the submissions. So, you have a chance to get your work out there in a very non-threatening way.”\u003c/p>\n\u003cp>According to Siembieda, the challenge has grown “exponentially” since its first iteration in 2019. Led by the \u003ca href=\"https://www.metgroup.com/our-work/case-studies/arts-midwest/\">Metropolitan Group\u003c/a> and Regional Arts Organizations, a 2017 study about how communities interact with their arts and cultural sectors found that people crave the community that comes with creative expression. San José served as a pilot city for the California Arts council, and as a result of the report, the City of San Jose Office of Cultural Affairs fostered programs emphasizing cultural participation and creative expression.\u003c/p>\n\u003cp>A new addition this year are the \u003ca href=\"https://www.eventbrite.com/e/creative-community-coffee-crafts-voyager-craft-coffee-tickets-1984939094264\">weekly meetups\u003c/a> at Voyager Craft Coffee’s St. John location, hosted by \u003ca href=\"https://www.instagram.com/thepalcommunity/\">The Pal Community\u003c/a>. The free events welcome participants who want to work on the challenges together. We Create 408 continues to expand beyond its starting point as a virtual community.\u003c/p>\n\u003cp>This challenge acts as a jumping-off point, and Creason-Valencia urges people to look at their daily life to see how creativity contributes to it, whether it’s posting photos on Instagram, cooking a meal, creating a new playlist, or even just singing in the shower.\u003c/p>\n\u003cp>“Give yourself credit for all the ways that you are a creative person,” she says. “You may not define yourself as an artist. You probably don’t, if you’re just a regular community member. But yet, you are doing these creative activities day in and day out. Just shift your mindset to see what you’re already doing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.wecreate408.org/\">We Create 408\u003c/a> runs through April 30, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As an educator, \u003ca href=\"https://www.tricia-speaks.com/\">Tricia Creason-Valencia\u003c/a> works to empower young people’s creative drive. In her classroom she often asks two questions together. First, “How many of you have a background in photography?” Most, if not all, stay silent, shaking their heads. She follows up with, “How many of you use Instagram?”\u003c/p>\n\u003cp>At this point, all hands raise. Creason-Valencia has shifted their perspective — art exists everywhere and they can be artists in their own way, even if they don’t realize it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This concept embodies the goal of the South Bay’s \u003ca href=\"https://www.wecreate408.org/\">We Create 408\u003c/a> challenge. Returning for its eighth year, the project poses weekly challenges to bring creativity into participants’ everyday activities.\u003c/p>\n\u003cp>“We’re asking regular everyday people to tap into the ways that they’re creative,” Creason-Valencia tells KQED. “We’re giving them a container for doing that.”\u003c/p>\n\u003cp>The filmmaker and educator is one of San José’s \u003ca href=\"https://www.sanjoseca.gov/your-government/departments-offices/cultural-affairs/participate/creative-ambassadors/2026-creative-ambassadors\">2026 Creative Ambassadors\u003c/a>. Using mediums like photography, videography, audio storytelling and poetry, Creason-Valencia has hosted workshops, conferences and has taught at various universities and high schools across the Bay Area. Her work focuses on personal identity through the exploration of art, which makes her a perfect spokesperson for We Create 408.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A coalition composed of San José’s arts and culture leaders and institutions worked together on this year’s challenge. Four themes unfold across each week in April: play, San José love, nurture, and nature. The challenge is also timed for California’s \u003ca href=\"https://www.caforthearts.org/accm-2026\">Arts, Culture and Creativity Month\u003c/a>.\u003c/p>\n\u003cp>Participants are encouraged to submit their work via email, or by using the #WeCreate408 hashtag on social media to be part of the project website’s \u003ca href=\"https://www.wecreate408.org/wall-of-creativity/\">wall of creativity\u003c/a> and enter a chance to win prizes from the city.\u003c/p>\n\u003cp>“This is really a coalition-driven campaign,” says Danielle Siembieda, senior program manager for the San José Office of Development and Economic Affairs. “Everybody has pitched in and given tickets, swag bags, artist prints and gift cards to the campaign to make those incentives, but also to get people out about and really being able to support our local creative economy.”\u003c/p>\n\u003cp>A supplementary curriculum is also provided by the coalition, detailing lesson plans for pre-K through fifth grade educators.\u003c/p>\n\u003cfigure id=\"attachment_13988282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000.jpg\" alt=\"smiling people with art supplies across several outdoor tables at cafe\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/WeCreate408_Meetup_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People at the first meetup of this year’s We Create 408 campaign, on April 1, 2026. \u003ccite>(Danielle Siembieda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the first week of April, “Take a Play Walk,” had participants looking for everyday, “hidden” works of art around the South Bay. They either had to sketch the shapes, grab photos or images, or write a three-sentence “found poem” about their discoveries.\u003c/p>\n\u003cp>Longtime San José resident \u003ca href=\"https://www.judyrookstoolart.com/about-me\">Judy Rookstool\u003c/a> has been participating in the challenge since 2021 and was the first to submit a poem.\u003c/p>\n\u003cp>Her main medium is acrylic paint, but for the first week, she decided to write instead, to challenge herself. Trying something in a new direction is something she’s familiar with, as an artist who started practicing “late in life.”\u003c/p>\n\u003cp>“We Create 408 is a way to break the ice,” Rookstool says. “There’s no threat. For example, the creativity wall doesn’t even attach names to the submissions. So, you have a chance to get your work out there in a very non-threatening way.”\u003c/p>\n\u003cp>According to Siembieda, the challenge has grown “exponentially” since its first iteration in 2019. Led by the \u003ca href=\"https://www.metgroup.com/our-work/case-studies/arts-midwest/\">Metropolitan Group\u003c/a> and Regional Arts Organizations, a 2017 study about how communities interact with their arts and cultural sectors found that people crave the community that comes with creative expression. San José served as a pilot city for the California Arts council, and as a result of the report, the City of San Jose Office of Cultural Affairs fostered programs emphasizing cultural participation and creative expression.\u003c/p>\n\u003cp>A new addition this year are the \u003ca href=\"https://www.eventbrite.com/e/creative-community-coffee-crafts-voyager-craft-coffee-tickets-1984939094264\">weekly meetups\u003c/a> at Voyager Craft Coffee’s St. John location, hosted by \u003ca href=\"https://www.instagram.com/thepalcommunity/\">The Pal Community\u003c/a>. The free events welcome participants who want to work on the challenges together. We Create 408 continues to expand beyond its starting point as a virtual community.\u003c/p>\n\u003cp>This challenge acts as a jumping-off point, and Creason-Valencia urges people to look at their daily life to see how creativity contributes to it, whether it’s posting photos on Instagram, cooking a meal, creating a new playlist, or even just singing in the shower.\u003c/p>\n\u003cp>“Give yourself credit for all the ways that you are a creative person,” she says. “You may not define yourself as an artist. You probably don’t, if you’re just a regular community member. But yet, you are doing these creative activities day in and day out. Just shift your mindset to see what you’re already doing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.wecreate408.org/\">We Create 408\u003c/a> runs through April 30, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For a few hours on March 28, downtown \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> will be taken over by cats.\u003c/p>\n\u003cp>When San José Cat Day returns Saturday for its second year, it will bring double the participants as its debut in 2025, and three separate locations dedicated to feline festivities: an exhibit of original cat art, 60 vendors selling cat-themed merchandise, a cat-themed cafe and actual cats in a “kitten lounge.”\u003c/p>\n\u003cp>One returning vendor from 2025 is Jessica Chun, who first met Kevin Biggers of San José Made while he was planning the inaugural San José Cat Day. They bonded over their love of Garfield, which led to her being commissioned to design the event poster.\u003c/p>\n\u003cp>“It was by far like the most successful event poster that we’ve ever posted on our Instagram,” Biggers said. Chun, who’ll display her new prints, stickers, tote bags and keychains at this year’s event, created this year’s poster as well.\u003c/p>\n\u003cfigure id=\"attachment_13987944\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg\" alt=\"\" width=\"2000\" height=\"2080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-768x799.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1477x1536.jpg 1477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1969x2048.jpg 1969w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Chun, who goes by Cocochoon, sells her cat-themed prints, charms and other wares. \u003ccite>(Courtesy Cocochoon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the event’s biggest draws is the kitten lounge, where visitors can pet and play with kittens, similar to cat cafes in Japan. Over 20 kittens will be available for adoption. (The limited slots have high demand, and visitors need to book appointments in advance.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though this is only the second San José Cat Day, the event reflects something larger for cat lovers. Cats have historically been tied to stereotypes like the “\u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">crazy cat lady\u003c/a>,” but have seen a surge in popularity, and pop-culture reframing, through social media and anime.\u003c/p>\n\u003cp>[aside postID='arts_13978816']Last year’s event drew a huge crowd of both people and cats. Many cats were seen carried in bubble backpacks peeking out as they moved through the event.\u003cbr>\n“It was very cute to see the cat owners talking to each other and connecting over this love of cats,” Chun said.\u003c/p>\n\u003cp>For Biggers, who describes himself as a cat enthusiast, the appeal of the event is as much about the people as it is about pets.\u003c/p>\n\u003cp>“I think it brings out the community of cat lovers or cat enthusiasts,” Biggers said. “It shows that it’s not necessarily a solitary endeavor or solitary hobby. There are a lot of people who are really cat people, even if they don’t own a cat themselves.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Cat Day takes place Saturday, March 28, from 11 a.m.–5 p.m. at various locations in downtown San José. \u003ca href=\"https://www.sanjosemade.com/pages/san-jose-cat-day-2026\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a few hours on March 28, downtown \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> will be taken over by cats.\u003c/p>\n\u003cp>When San José Cat Day returns Saturday for its second year, it will bring double the participants as its debut in 2025, and three separate locations dedicated to feline festivities: an exhibit of original cat art, 60 vendors selling cat-themed merchandise, a cat-themed cafe and actual cats in a “kitten lounge.”\u003c/p>\n\u003cp>One returning vendor from 2025 is Jessica Chun, who first met Kevin Biggers of San José Made while he was planning the inaugural San José Cat Day. They bonded over their love of Garfield, which led to her being commissioned to design the event poster.\u003c/p>\n\u003cp>“It was by far like the most successful event poster that we’ve ever posted on our Instagram,” Biggers said. Chun, who’ll display her new prints, stickers, tote bags and keychains at this year’s event, created this year’s poster as well.\u003c/p>\n\u003cfigure id=\"attachment_13987944\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg\" alt=\"\" width=\"2000\" height=\"2080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-768x799.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1477x1536.jpg 1477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1969x2048.jpg 1969w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Chun, who goes by Cocochoon, sells her cat-themed prints, charms and other wares. \u003ccite>(Courtesy Cocochoon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the event’s biggest draws is the kitten lounge, where visitors can pet and play with kittens, similar to cat cafes in Japan. Over 20 kittens will be available for adoption. (The limited slots have high demand, and visitors need to book appointments in advance.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though this is only the second San José Cat Day, the event reflects something larger for cat lovers. Cats have historically been tied to stereotypes like the “\u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">crazy cat lady\u003c/a>,” but have seen a surge in popularity, and pop-culture reframing, through social media and anime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year’s event drew a huge crowd of both people and cats. Many cats were seen carried in bubble backpacks peeking out as they moved through the event.\u003cbr>\n“It was very cute to see the cat owners talking to each other and connecting over this love of cats,” Chun said.\u003c/p>\n\u003cp>For Biggers, who describes himself as a cat enthusiast, the appeal of the event is as much about the people as it is about pets.\u003c/p>\n\u003cp>“I think it brings out the community of cat lovers or cat enthusiasts,” Biggers said. “It shows that it’s not necessarily a solitary endeavor or solitary hobby. There are a lot of people who are really cat people, even if they don’t own a cat themselves.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Cat Day takes place Saturday, March 28, from 11 a.m.–5 p.m. at various locations in downtown San José. \u003ca href=\"https://www.sanjosemade.com/pages/san-jose-cat-day-2026\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Lowriders in San Francisco, It’s Not Just a Stamp — It’s Respect at the Federal Level",
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"content": "\u003cp>On Saturday morning, \u003ca href=\"https://www.kqed.org/arts/tag/lowriders\">lowrider\u003c/a> cars in a spectrum of colors cruised into the parking lot of the USPS processing center in Hunters Point, their glistening chrome finish and intricate airbrushings drawing attention from attendees. \u003c/p>\n\u003cp>This was no ordinary lowrider show, however. The gathering marked the United States Postal Service’s unveiling of a \u003ca href=\"https://store.usps.com/store/product/lowriders-stamps-S_488204\">new set of five lowrider stamps\u003c/a>. Organized in part by the San Francisco Lowrider Council, the event honored the history of lowriding and the recognition, at the federal level, of a culture long stereotyped and stigmatized. \u003c/p>\n\u003cp>“It represents showing us respect,” council founder Roberto Hernández told KQED. “It’s atoning for what’s been done to us, it’s recognizing that this is an art form, and it’s part of the Chicano Latino culture.”\u003c/p>\n\u003cfigure id=\"attachment_13987602\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USPS employees sell sets of the new lowrider stamps to a long line of customers in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lines to purchase the stamps wrapped around the stage as USPS officials, community leaders and members of the Lowrider Council delivered speeches. Woven into the festivities were performances from Danza Azteca Xitlalli-Xolotl and Mariachi San Francisco. \u003c/p>\n\u003cp>Joe Moreno, the president of the San José Lowrider Council, shared similar sentiments as Hernández. “It’s a sense of pride,” Moreno said. “Everybody felt a sense of pride that this is happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hernández, a \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> native, founded the San Francisco Lowrider Council in 1981. For the next four decades, he advocated for the community and challenged restrictions against lowriding and cruising, which were heavily regulated across California. In 2023, those statewide regulations were finally eased, allowing cruising without fear of being pulled over, ticketed or arrested. \u003c/p>\n\u003cp>[aside postID='news_12001199']During the late 1970s and early ’80s, Hernández said, he endured over 100 arrests or violent encounters with San Francisco law enforcement. He eventually filed a federal civil rights lawsuit against the city and police department — and won. \u003c/p>\n\u003cp>The Bay Area community that formed around lowriding is what made the fight worthwhile, Hernández said.\u003c/p>\n\u003cp>“From the very beginning, there were African Americans cruising with us, Filipinos, Samoans, every kind of Latino,” he said. “So that melting pot has been very special here in the Bay. Just growing up here in the Mission District, I got fed by every culture … in my tummy, but also, my heart, soul, and spirit got fed. I was exposed to all these cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13987603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Some of the many cars on display to commemorate the USPS release of new lowrider stamps in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Saturday’s event celebrated a tradition of customized automobiles, Hernández says that recognition represents something larger than cars. Especially now, when immigration policies and ICE continue to target Mexican and Chicano communities.\u003c/p>\n\u003cp>“The federal government is at war with our people, criminalizing our people, deporting our people, illegally detaining people,” Hernández said, adding that it’s important for his community to keep mobilizing and organizing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But today,” he said, “we’ll take the celebration.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday morning, \u003ca href=\"https://www.kqed.org/arts/tag/lowriders\">lowrider\u003c/a> cars in a spectrum of colors cruised into the parking lot of the USPS processing center in Hunters Point, their glistening chrome finish and intricate airbrushings drawing attention from attendees. \u003c/p>\n\u003cp>This was no ordinary lowrider show, however. The gathering marked the United States Postal Service’s unveiling of a \u003ca href=\"https://store.usps.com/store/product/lowriders-stamps-S_488204\">new set of five lowrider stamps\u003c/a>. Organized in part by the San Francisco Lowrider Council, the event honored the history of lowriding and the recognition, at the federal level, of a culture long stereotyped and stigmatized. \u003c/p>\n\u003cp>“It represents showing us respect,” council founder Roberto Hernández told KQED. “It’s atoning for what’s been done to us, it’s recognizing that this is an art form, and it’s part of the Chicano Latino culture.”\u003c/p>\n\u003cfigure id=\"attachment_13987602\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USPS employees sell sets of the new lowrider stamps to a long line of customers in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lines to purchase the stamps wrapped around the stage as USPS officials, community leaders and members of the Lowrider Council delivered speeches. Woven into the festivities were performances from Danza Azteca Xitlalli-Xolotl and Mariachi San Francisco. \u003c/p>\n\u003cp>Joe Moreno, the president of the San José Lowrider Council, shared similar sentiments as Hernández. “It’s a sense of pride,” Moreno said. “Everybody felt a sense of pride that this is happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the late 1970s and early ’80s, Hernández said, he endured over 100 arrests or violent encounters with San Francisco law enforcement. He eventually filed a federal civil rights lawsuit against the city and police department — and won. \u003c/p>\n\u003cp>The Bay Area community that formed around lowriding is what made the fight worthwhile, Hernández said.\u003c/p>\n\u003cp>“From the very beginning, there were African Americans cruising with us, Filipinos, Samoans, every kind of Latino,” he said. “So that melting pot has been very special here in the Bay. Just growing up here in the Mission District, I got fed by every culture … in my tummy, but also, my heart, soul, and spirit got fed. I was exposed to all these cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13987603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Some of the many cars on display to commemorate the USPS release of new lowrider stamps in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Saturday’s event celebrated a tradition of customized automobiles, Hernández says that recognition represents something larger than cars. Especially now, when immigration policies and ICE continue to target Mexican and Chicano communities.\u003c/p>\n\u003cp>“The federal government is at war with our people, criminalizing our people, deporting our people, illegally detaining people,” Hernández said, adding that it’s important for his community to keep mobilizing and organizing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But today,” he said, “we’ll take the celebration.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dzui-favorite-durian-dessert-shop-san-jose-banh-pia",
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"content": "\u003cp>[dropcap]A[/dropcap]t Dzui’s, a snug \u003ca href=\"https://www.kqed.org/arts/tag/vietnamese-food\">Vietnamese\u003c/a> dessert shop in Eastside San José, the display case is a cabinet of delectable mysteries. One side of the counter is piled high with flaky pastries and savory sponge cakes topped, variously, with pork floss and toasted seaweed. On the other, pillowy crepe rolls sit beside clamshell containers of rice pudding molded into the shape of Labubus (!) and a cluster of layer cakes resembling a snow-dusted, neon-green mountain range. Half the items in the case aren’t labeled.\u003c/p>\n\u003cp>Who needs a menu, though, when just about everything is mind-bogglingly tasty? Over the course of three recent visits, I hoovered up a refreshing tofu pudding drink packed with boba, pandan jellies and other assorted textural delights, and devoured a pot-pie-like ground pork pastry with boiled quailed eggs hidden inside.\u003c/p>\n\u003cp>[aside postID='arts_13925835']More than anything, I reveled in the \u003ca href=\"https://www.kqed.org/arts/13925835/durian-bay-area-love-letter-singaporean-culture\">rich, famously pungent flavor of durian\u003c/a>. Plump, tender durian crepes crammed full of whipped cream that’s layered with chunks of the intoxicating fruit. A durian-and-salt-cream milk tea that only got more potent — and more delicious — the longer I drank it.\u003c/p>\n\u003cfigure id=\"attachment_13904916\" class=\"wp-caption alignnone\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo.jpg\" alt=\"Two Vietnamese milk tea drinks, a pastry and a spiky green durian fruit spread out on a countertop.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">An assortment of drinks and desserts highlighting the rich, pungent flavor of fresh durian. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most memorable of all was a treat I’d never tried before: a round, flaky pastry that looked like a mooncake or a Chinese \u003ca href=\"https://thewoksoflife.com/wife-cake-lao-po-bing/\">wife cake\u003c/a>. Inside, the filling was a mix of green mung beans, salted egg yolk, candied winter melon and, once again, that characteristic sweet funk of fresh, ripe durian — a delightful combination of textures and flavors.\u003c/p>\n\u003cp>The pastries are known as bánh pía. And, as I soon learned, they’re the product of a 40-plus-year family legacy.\u003c/p>\n\u003ch3>\u003cb>A Chinese-Vietnamese legacy\u003c/b>\u003c/h3>\n\u003cp>As it turns out, the shop’s owner, Dzui Thai, comes from a long line of bánh pía makers. His aunt and uncle run \u003ca href=\"https://www.banhpiatanhung.vn/\">Tân Hưng\u003c/a>, one of the most famous bánh pía brands in Vietnam, adapting his grandfather’s four-decade-old original recipe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bánh pía pastries are a legacy of Vietnam’s Teochew (aka Chaozhou) people, an ethnic Chinese subgroup that mostly resettled in parts of Southeast Asia. Both sides of Thai’s family are Teochew who moved to Sóc Trăng, Vietnam, two generations ago. Thai himself is fluent in Mandarin. He says even after immigrating to Sóc Trăng, his paternal grandparents didn’t speak any Vietnamese at all.\u003c/p>\n\u003cfigure id=\"attachment_13986819\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986819\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai.jpg\" alt=\"A man in a baseball cap poses for a portrait while holding a plate of pastries.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The dessert shop’s owner, Dzui Thai, poses with an assortment of pastries. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bánh pía’s Chinese roots help explain why the pastries most closely resemble the kind of flaky, thin-skinned mooncakes that you’ll find in Chaozhou. In fact, Thai says, back in his hometown of Sóc Trăng, people were more likely to eat bánh pía to celebrate the Moon Festival than traditional mooncakes. As a kid, he remembers going to help out at his auntie’s factory each fall, right before the Moon Festival, and everyone would be exhausted from working almost nonstop for the whole month, making thousands upon thousands of bánh pía.\u003c/p>\n\u003cp>In fact, with his family’s blessing, the bánh pía at Dzui’s are also stamped with the Tân Hưng brand name — even though he produces the pastries independently here in San José, using the same laborious seven-step process that his family’s factories in Sóc Trăng employ. The branding caused some confusion when Thai first started selling the bánh pía, as some Vietnamese customers accused him of simply re-selling pastries he’d bought frozen from Vietnam.\u003c/p>\n\u003cp>“I respect my family, so that’s why I don’t change it,” Thai says of his decision to carry on the Tân Hưng name.\u003c/p>\n\u003cfigure id=\"attachment_13986822\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu.jpg\" alt=\"Overhead view of a round Asian pastry, with the name of the brand — Tân Hưng — stamped in red. Next to it, a container of Labubu-shaped desserts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dzui’s traditional durian bánh pía, seen here alongside a container of Labubu-shaped rice pudding. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thai’s own path to opening a food business was somewhat circuitous. Originally, he’d moved to California in the late 2000s to attend film school at USC, but wound up dropping out when he was diagnosed with leukemia. Then, seven or eight years later, whiles living in San José with his sister, the cancer returned, and he had to drop everything again.\u003c/p>\n\u003cp>“One day, I was lying in bed and didn’t know what to do. I was so craving my family’s [food], so I decided to make it,” Thai recalls. “And then I started to try and sell it at home.”\u003c/p>\n\u003cp>At first, Thai’s nascent home bakery business only sold one item — a savory sponge cake topped with pork floss, Chinese sausage and salted egg yolk. It was a hit, and remains one of Dzui’s best-selling items. Soon, he started selling bánh pía too. At the time, he says, no one else was baking those fresh in San José; you could only buy frozen pía cakes at Vietnamese markets.\u003c/p>\n\u003cfigure id=\"attachment_13986820\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake.jpg\" alt=\"A savory sponge cake on a plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The savory sponge cake remains one of the bakery’s best-selling items. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thai says his family didn’t initially support him getting into the food business; they were too worried about his health. But his little home baking venture was \u003ci>so \u003c/i>successful that they eventually relented and gave their approval. In 2017, when Thai was fully cancer-free, he opened Dzui’s Cakes & Desserts as a full-fledged Vietnamese bakery and snack shop. In the years since, Thai has expanded on his durian-forward beverage menu and added a cute cafe area bedecked with nostalgic, 1980s-era knicknacks, rebranding the shop as Dzui Cake & Tea.\u003c/p>\n\u003ch3>\u003cb>A paradise for durian lovers\u003c/b>\u003c/h3>\n\u003cp>As Thai tells it, it’s no coincidence that Dzui’s wound up becoming the South Bay’s go-to destination for durian desserts. That was the vision from the very beginning, he says. After all, even the store’s logo is a \u003ca href=\"https://www.facebook.com/photo/?fbid=506833571442967&set=a.506833548109636\">jolly cartoon durian\u003c/a>.\u003c/p>\n\u003cp>“When you open a business, you want to stand out — you want to be different,” Dzui says, pointing out the many other \u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">coffee shops and boba shops in San José\u003c/a> that sell more or less the same selection of milk teas and fruit teas.\u003c/p>\n\u003cfigure id=\"attachment_13986816\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink.jpg\" alt=\"A hand holds a cup of milk tea. The label reads, "You can't buy happiness, but you can buy durian."\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dzui’s potent durian milk tea. The slogan on the label speaks to the shop’s overall ethos: “You can’t buy happiness, but you can buy durian.” \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, given the love-it-or-hate-it nature of durian itself, there was always a risk that the business would flop entirely. Instead, these days Dzui’s attracts large crowds of Asian (and some non-Asian) customers who come precisely \u003ci>because\u003c/i> they’ve heard the shop is a kind of paradise for durian lovers.\u003c/p>\n\u003cp>[aside postID='arts_13904913,arts_13986607,arts_13986360']As for his family’s famous bánh pía, Thai sells a few different variations on the treat, including a savory version that has a char siu pork filling with crunchy bits of candied winter melon that act as a wonderful counterpoint. But in his view, a truly traditional bánh pía never omits the durian.\u003c/p>\n\u003cp>For Vietnamese people, he says, “When you say, ‘I want a pía cake,’ it means you love durian. Because that cake has to have durian inside.”\u003c/p>\n\u003cp>As Tết, aka Vietnamese Lunar New Year, kicks off this week, Thai says bánh pía aren’t necessarily a traditional New Year’s treat, but many of his customers love them so much that they’ll still buy them for their festival celebrations. He includes an assortment of them in the various Lunar New Year gift boxes that he sells, along with another perennial customer favorite: Taiwanese-style pineapple cakes that he makes using fresh pineapples.\u003c/p>\n\u003cfigure id=\"attachment_13986818\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986818\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice.jpg\" alt=\"A man and a young woman of Asian descent pose in front of a display of cakes and pastries.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thai and his niece, My Trang, pose in front of a counter stacked high with breads and pastries. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Thai says he’s thinking of bringing even more of his family’s Teochew specialties here to San José. In particular, he says, some of his regulars keep clamoring for a type of Chinese sausage that he makes, about the size of a finger, with fresh shrimp inside. “Maybe this year,” he muses.\u003c/p>\n\u003cp>And of course there’s always a bevy of durian innovations, old and new, in the works. “Have you tried the durian egg tarts?” Thai asks. He’s thinking of putting them back on the menu soon.\u003c/p>\n\u003cp>“They’re really, really good,” he tells me. And I believe him.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/p/Dzuis-Cakes-Desserts-100063489853107/\">\u003ci>Dzui Cake & Tea\u003c/i>\u003c/a>\u003ci> is open Monday, Wednesday and Thursday from 10 a.m.–8:30 p.m., and Friday–Sunday from 10 a.m.–9 p.m. at 2451 Alvin Ave. in San José. The shop is closed on Tuesdays.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>t Dzui’s, a snug \u003ca href=\"https://www.kqed.org/arts/tag/vietnamese-food\">Vietnamese\u003c/a> dessert shop in Eastside San José, the display case is a cabinet of delectable mysteries. One side of the counter is piled high with flaky pastries and savory sponge cakes topped, variously, with pork floss and toasted seaweed. On the other, pillowy crepe rolls sit beside clamshell containers of rice pudding molded into the shape of Labubus (!) and a cluster of layer cakes resembling a snow-dusted, neon-green mountain range. Half the items in the case aren’t labeled.\u003c/p>\n\u003cp>Who needs a menu, though, when just about everything is mind-bogglingly tasty? Over the course of three recent visits, I hoovered up a refreshing tofu pudding drink packed with boba, pandan jellies and other assorted textural delights, and devoured a pot-pie-like ground pork pastry with boiled quailed eggs hidden inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than anything, I reveled in the \u003ca href=\"https://www.kqed.org/arts/13925835/durian-bay-area-love-letter-singaporean-culture\">rich, famously pungent flavor of durian\u003c/a>. Plump, tender durian crepes crammed full of whipped cream that’s layered with chunks of the intoxicating fruit. A durian-and-salt-cream milk tea that only got more potent — and more delicious — the longer I drank it.\u003c/p>\n\u003cfigure id=\"attachment_13904916\" class=\"wp-caption alignnone\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo.jpg\" alt=\"Two Vietnamese milk tea drinks, a pastry and a spiky green durian fruit spread out on a countertop.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_KQED100321_VietnameseSJDrinks_AndriaLo-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">An assortment of drinks and desserts highlighting the rich, pungent flavor of fresh durian. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most memorable of all was a treat I’d never tried before: a round, flaky pastry that looked like a mooncake or a Chinese \u003ca href=\"https://thewoksoflife.com/wife-cake-lao-po-bing/\">wife cake\u003c/a>. Inside, the filling was a mix of green mung beans, salted egg yolk, candied winter melon and, once again, that characteristic sweet funk of fresh, ripe durian — a delightful combination of textures and flavors.\u003c/p>\n\u003cp>The pastries are known as bánh pía. And, as I soon learned, they’re the product of a 40-plus-year family legacy.\u003c/p>\n\u003ch3>\u003cb>A Chinese-Vietnamese legacy\u003c/b>\u003c/h3>\n\u003cp>As it turns out, the shop’s owner, Dzui Thai, comes from a long line of bánh pía makers. His aunt and uncle run \u003ca href=\"https://www.banhpiatanhung.vn/\">Tân Hưng\u003c/a>, one of the most famous bánh pía brands in Vietnam, adapting his grandfather’s four-decade-old original recipe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bánh pía pastries are a legacy of Vietnam’s Teochew (aka Chaozhou) people, an ethnic Chinese subgroup that mostly resettled in parts of Southeast Asia. Both sides of Thai’s family are Teochew who moved to Sóc Trăng, Vietnam, two generations ago. Thai himself is fluent in Mandarin. He says even after immigrating to Sóc Trăng, his paternal grandparents didn’t speak any Vietnamese at all.\u003c/p>\n\u003cfigure id=\"attachment_13986819\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986819\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai.jpg\" alt=\"A man in a baseball cap poses for a portrait while holding a plate of pastries.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-thai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The dessert shop’s owner, Dzui Thai, poses with an assortment of pastries. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bánh pía’s Chinese roots help explain why the pastries most closely resemble the kind of flaky, thin-skinned mooncakes that you’ll find in Chaozhou. In fact, Thai says, back in his hometown of Sóc Trăng, people were more likely to eat bánh pía to celebrate the Moon Festival than traditional mooncakes. As a kid, he remembers going to help out at his auntie’s factory each fall, right before the Moon Festival, and everyone would be exhausted from working almost nonstop for the whole month, making thousands upon thousands of bánh pía.\u003c/p>\n\u003cp>In fact, with his family’s blessing, the bánh pía at Dzui’s are also stamped with the Tân Hưng brand name — even though he produces the pastries independently here in San José, using the same laborious seven-step process that his family’s factories in Sóc Trăng employ. The branding caused some confusion when Thai first started selling the bánh pía, as some Vietnamese customers accused him of simply re-selling pastries he’d bought frozen from Vietnam.\u003c/p>\n\u003cp>“I respect my family, so that’s why I don’t change it,” Thai says of his decision to carry on the Tân Hưng name.\u003c/p>\n\u003cfigure id=\"attachment_13986822\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu.jpg\" alt=\"Overhead view of a round Asian pastry, with the name of the brand — Tân Hưng — stamped in red. Next to it, a container of Labubu-shaped desserts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-banh-pia-labubu-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dzui’s traditional durian bánh pía, seen here alongside a container of Labubu-shaped rice pudding. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thai’s own path to opening a food business was somewhat circuitous. Originally, he’d moved to California in the late 2000s to attend film school at USC, but wound up dropping out when he was diagnosed with leukemia. Then, seven or eight years later, whiles living in San José with his sister, the cancer returned, and he had to drop everything again.\u003c/p>\n\u003cp>“One day, I was lying in bed and didn’t know what to do. I was so craving my family’s [food], so I decided to make it,” Thai recalls. “And then I started to try and sell it at home.”\u003c/p>\n\u003cp>At first, Thai’s nascent home bakery business only sold one item — a savory sponge cake topped with pork floss, Chinese sausage and salted egg yolk. It was a hit, and remains one of Dzui’s best-selling items. Soon, he started selling bánh pía too. At the time, he says, no one else was baking those fresh in San José; you could only buy frozen pía cakes at Vietnamese markets.\u003c/p>\n\u003cfigure id=\"attachment_13986820\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake.jpg\" alt=\"A savory sponge cake on a plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-savory-sponge-cake-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The savory sponge cake remains one of the bakery’s best-selling items. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thai says his family didn’t initially support him getting into the food business; they were too worried about his health. But his little home baking venture was \u003ci>so \u003c/i>successful that they eventually relented and gave their approval. In 2017, when Thai was fully cancer-free, he opened Dzui’s Cakes & Desserts as a full-fledged Vietnamese bakery and snack shop. In the years since, Thai has expanded on his durian-forward beverage menu and added a cute cafe area bedecked with nostalgic, 1980s-era knicknacks, rebranding the shop as Dzui Cake & Tea.\u003c/p>\n\u003ch3>\u003cb>A paradise for durian lovers\u003c/b>\u003c/h3>\n\u003cp>As Thai tells it, it’s no coincidence that Dzui’s wound up becoming the South Bay’s go-to destination for durian desserts. That was the vision from the very beginning, he says. After all, even the store’s logo is a \u003ca href=\"https://www.facebook.com/photo/?fbid=506833571442967&set=a.506833548109636\">jolly cartoon durian\u003c/a>.\u003c/p>\n\u003cp>“When you open a business, you want to stand out — you want to be different,” Dzui says, pointing out the many other \u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">coffee shops and boba shops in San José\u003c/a> that sell more or less the same selection of milk teas and fruit teas.\u003c/p>\n\u003cfigure id=\"attachment_13986816\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink.jpg\" alt=\"A hand holds a cup of milk tea. The label reads, "You can't buy happiness, but you can buy durian."\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-drink-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dzui’s potent durian milk tea. The slogan on the label speaks to the shop’s overall ethos: “You can’t buy happiness, but you can buy durian.” \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, given the love-it-or-hate-it nature of durian itself, there was always a risk that the business would flop entirely. Instead, these days Dzui’s attracts large crowds of Asian (and some non-Asian) customers who come precisely \u003ci>because\u003c/i> they’ve heard the shop is a kind of paradise for durian lovers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for his family’s famous bánh pía, Thai sells a few different variations on the treat, including a savory version that has a char siu pork filling with crunchy bits of candied winter melon that act as a wonderful counterpoint. But in his view, a truly traditional bánh pía never omits the durian.\u003c/p>\n\u003cp>For Vietnamese people, he says, “When you say, ‘I want a pía cake,’ it means you love durian. Because that cake has to have durian inside.”\u003c/p>\n\u003cp>As Tết, aka Vietnamese Lunar New Year, kicks off this week, Thai says bánh pía aren’t necessarily a traditional New Year’s treat, but many of his customers love them so much that they’ll still buy them for their festival celebrations. He includes an assortment of them in the various Lunar New Year gift boxes that he sells, along with another perennial customer favorite: Taiwanese-style pineapple cakes that he makes using fresh pineapples.\u003c/p>\n\u003cfigure id=\"attachment_13986818\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986818\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice.jpg\" alt=\"A man and a young woman of Asian descent pose in front of a display of cakes and pastries.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/dzui-and-neice-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thai and his niece, My Trang, pose in front of a counter stacked high with breads and pastries. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Thai says he’s thinking of bringing even more of his family’s Teochew specialties here to San José. In particular, he says, some of his regulars keep clamoring for a type of Chinese sausage that he makes, about the size of a finger, with fresh shrimp inside. “Maybe this year,” he muses.\u003c/p>\n\u003cp>And of course there’s always a bevy of durian innovations, old and new, in the works. “Have you tried the durian egg tarts?” Thai asks. He’s thinking of putting them back on the menu soon.\u003c/p>\n\u003cp>“They’re really, really good,” he tells me. And I believe him.\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.facebook.com/p/Dzuis-Cakes-Desserts-100063489853107/\">\u003ci>Dzui Cake & Tea\u003c/i>\u003c/a>\u003ci> is open Monday, Wednesday and Thursday from 10 a.m.–8:30 p.m., and Friday–Sunday from 10 a.m.–9 p.m. at 2451 Alvin Ave. in San José. The shop is closed on Tuesdays.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "yosimar-reyes-play-no-llegamos-aqui-solos-ice-raids-east-san-jose",
"title": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants",
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"headTitle": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants | KQED",
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"content": "\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>[aside postID='arts_13904861']\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"socialDescription": "While ICE Raids Loom, the play explores the close ties of those under the threat of deportation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This San José Food Truck Is One of the Only Dominican Food Spots in the Bay",
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"content": "\u003cp>A half-mile stretch on the outskirts of south downtown San José has become a hotbed for food trucks from across Latin America. In the past two years, new trucks have launched specializing in corn cachapas from Venezuela, tender nacatamales from Nicaragua, and, as of last May, the slow-cooked stews and savory mashed plantains of the Dominican Republic.\u003c/p>\n\u003cp>Wrapped in the characteristic blue, red and white of the Dominican flag, the \u003ca href=\"https://www.instagram.com/elfogongeny/\">El Fogon d’Geny\u003c/a> truck shares a small, picnic table–lined lot with a few other food trucks. Its arrival is great news for fans of Caribbean food: Dominican dishes used to be nearly impossible to come by in the Bay Area. Now, El Fogon d’Geny is putting in the work to introduce the cuisine’s hearty flavors to the South Bay.\u003c/p>\n\u003cp>Owner Vanessa Rodríguez was born in Santo Domingo, the capital of the Dominican Republic, but grew up in Nagua, a smaller city on the island’s northeastern coast. As a child, she learned to cook alongside her mother, grandmother and aunts. In 2002, she moved to Bávaro, Punta Cana, a more touristy area where she began her career as a professional cook. Over the years, she blended what she learned working in restaurant kitchens with her family’s recipes to develop her own style centered on patient, low-and-slow cooking and aggressive seasoning.\u003c/p>\n\u003cp>After immigrating to San José in 2016, she continued working at restaurants and, seeing the lack of Dominican representation, felt inspired to introduce her cuisine to the Bay. Three years ago, she finally gave it a shot, giving away plates of Dominican fried chicken to neighbors and friends. Eventually, she launched a home-based food business, selling habichuelas guisadas and moro de guandules via social media.\u003c/p>\n\u003cfigure id=\"attachment_13985941\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez.jpg\" alt=\"A woman with long braids poses for a portrait in front on her food truck.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Rodríguez launched her food truck business in May of 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Starting a business here isn’t as easy as it is in my country,” says Rodríguez, “I saw it as a difficult dream to achieve, but I did it. Here I am.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The number one reason to visit El Fogon d’Geny is to devour a plate of mofongo. While the savory plantain dish originated in Puerto Rican, it’s also popular in the Dominican Republic. Rodríguez says it’s the most difficult item on her menu to prepare, as she incorporates several personal twists. Traditionally, mofongo is made by frying green plantains, then mashing them with garlic and chicharrón. Rodríguez shapes her version into a crater and fries it to develop a crispy exterior that contrasts the fluffy, meaty interior. It’s topped with shrimp, sliced cheese and a creamy sauce that overflows onto the plate.\u003c/p>\n\u003cp>You can also try the distinctly Dominican take on mashed plantains called mangú, in which green plantains are boiled instead of fried before mashing. Rodriguez serves it as part of a traditional Dominican breakfast known as los tres golpes.The mangú has a texture reminiscent of refried beans but even creamier. It comes with fried eggs, two crisped slices of Dominican salami (like extremely beefy-tasting sausage patties) and slabs of fresh cheese that are fried until golden on the outside.\u003c/p>\n\u003cfigure id=\"attachment_13985942\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985942\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes.jpg\" alt=\"A plate with mashed plantains, fried eggs, and sliced of fried salami.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Los tres golpes, a popular Dominican breakfast dish. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>El Fogon d’Geny’s menu highlights a host of other Dominican specialties like habichuelas con dulce (sweet beans), pica pollo (fried chicken) and sancocho (a hearty stew). Rodríguez wanted to offer a large variety of dishes to reach as many people as possible. “I have Dominican and Latino clients, but there’s also a lot of people that aren’t familiar with the food,” says Rodríguez.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13977950,arts_13977033,arts_13971280']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For those trying Dominican food for the first time, she recommends La Bandera Dominicana — a home-style plate loaded with tostones, fried yuca balls, habichuelas and a choice of stewed meat. It also includes a scoop of white rice and a piece of crunchy fried rice known as concón. The dish’s colorful components correspond to the red, white and blue of the Dominican flag. Being a first-timer to the cuisine myself, I opted for La Bandera Dominicana with chicken, which turned out to be fall-off-the-bone thighs and drumettes. My favorite bites on the plate were the surprisingly savory cheese-stuffed bolitos de yuca.\u003c/p>\n\u003cp>As one of the Bay Area’s only ambassadors of the cuisine, Rodríguez is dedicated to replicating the flavors of the Dominican Republic as closely as possible, importing spices, fresh chiles and cured meats from the island. Her crispy, highly seasoned fried chicken is made with several imported ingredients like adobo, sazón and ají gustoso (a sweet, fruity chile). One of her most popular rotating specials is the sancocho, a soup made with a medley of root vegetables and both fresh and cured meats. She also offers a wide selection of Dominican drinks like chinola (passionfruit), lechoza (papaya shake) and morir soñando (a creamy orange shake).\u003c/p>\n\u003cfigure id=\"attachment_13985943\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo.jpg\" alt=\"A plate of fried chicken and tostones.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Fogon D’geny’s crispy, highly seasoned Dominican-style fried chicken. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, what comes across most strongly is Rodriguez’s passion for her country, which shines through in the miniature Dominican flags she uses to decorate every dish and the selection of traditional Dominican snacks she keeps on display. She says her favorite compliment is when customers say that her food makes them want to visit the Dominican Republic.\u003c/p>\n\u003cp>“I feel very proud to represent my country,” says Rodríguez. “It’s an honor to share our culture and food with the people here. I hope La Bandera Dominicana can become a part of California’s gastronomy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>El Fogon d’Geny is currently open from 10:30 a.m.–9:30 p.m. every day except Tuesdays at 796 S. 1st St. in San José. Check the truck’s \u003c/i>\u003ca href=\"https://www.instagram.com/elfogongeny/\">\u003ci>Instagram page\u003c/i>\u003c/a>\u003ci> for its most up-to-date schedule. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A half-mile stretch on the outskirts of south downtown San José has become a hotbed for food trucks from across Latin America. In the past two years, new trucks have launched specializing in corn cachapas from Venezuela, tender nacatamales from Nicaragua, and, as of last May, the slow-cooked stews and savory mashed plantains of the Dominican Republic.\u003c/p>\n\u003cp>Wrapped in the characteristic blue, red and white of the Dominican flag, the \u003ca href=\"https://www.instagram.com/elfogongeny/\">El Fogon d’Geny\u003c/a> truck shares a small, picnic table–lined lot with a few other food trucks. Its arrival is great news for fans of Caribbean food: Dominican dishes used to be nearly impossible to come by in the Bay Area. Now, El Fogon d’Geny is putting in the work to introduce the cuisine’s hearty flavors to the South Bay.\u003c/p>\n\u003cp>Owner Vanessa Rodríguez was born in Santo Domingo, the capital of the Dominican Republic, but grew up in Nagua, a smaller city on the island’s northeastern coast. As a child, she learned to cook alongside her mother, grandmother and aunts. In 2002, she moved to Bávaro, Punta Cana, a more touristy area where she began her career as a professional cook. Over the years, she blended what she learned working in restaurant kitchens with her family’s recipes to develop her own style centered on patient, low-and-slow cooking and aggressive seasoning.\u003c/p>\n\u003cp>After immigrating to San José in 2016, she continued working at restaurants and, seeing the lack of Dominican representation, felt inspired to introduce her cuisine to the Bay. Three years ago, she finally gave it a shot, giving away plates of Dominican fried chicken to neighbors and friends. Eventually, she launched a home-based food business, selling habichuelas guisadas and moro de guandules via social media.\u003c/p>\n\u003cfigure id=\"attachment_13985941\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez.jpg\" alt=\"A woman with long braids poses for a portrait in front on her food truck.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Vanessa-Rodriguez-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Rodríguez launched her food truck business in May of 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Starting a business here isn’t as easy as it is in my country,” says Rodríguez, “I saw it as a difficult dream to achieve, but I did it. Here I am.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The number one reason to visit El Fogon d’Geny is to devour a plate of mofongo. While the savory plantain dish originated in Puerto Rican, it’s also popular in the Dominican Republic. Rodríguez says it’s the most difficult item on her menu to prepare, as she incorporates several personal twists. Traditionally, mofongo is made by frying green plantains, then mashing them with garlic and chicharrón. Rodríguez shapes her version into a crater and fries it to develop a crispy exterior that contrasts the fluffy, meaty interior. It’s topped with shrimp, sliced cheese and a creamy sauce that overflows onto the plate.\u003c/p>\n\u003cp>You can also try the distinctly Dominican take on mashed plantains called mangú, in which green plantains are boiled instead of fried before mashing. Rodriguez serves it as part of a traditional Dominican breakfast known as los tres golpes.The mangú has a texture reminiscent of refried beans but even creamier. It comes with fried eggs, two crisped slices of Dominican salami (like extremely beefy-tasting sausage patties) and slabs of fresh cheese that are fried until golden on the outside.\u003c/p>\n\u003cfigure id=\"attachment_13985942\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985942\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes.jpg\" alt=\"A plate with mashed plantains, fried eggs, and sliced of fried salami.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Los-Tres-Golpes-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Los tres golpes, a popular Dominican breakfast dish. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>El Fogon d’Geny’s menu highlights a host of other Dominican specialties like habichuelas con dulce (sweet beans), pica pollo (fried chicken) and sancocho (a hearty stew). Rodríguez wanted to offer a large variety of dishes to reach as many people as possible. “I have Dominican and Latino clients, but there’s also a lot of people that aren’t familiar with the food,” says Rodríguez.\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>For those trying Dominican food for the first time, she recommends La Bandera Dominicana — a home-style plate loaded with tostones, fried yuca balls, habichuelas and a choice of stewed meat. It also includes a scoop of white rice and a piece of crunchy fried rice known as concón. The dish’s colorful components correspond to the red, white and blue of the Dominican flag. Being a first-timer to the cuisine myself, I opted for La Bandera Dominicana with chicken, which turned out to be fall-off-the-bone thighs and drumettes. My favorite bites on the plate were the surprisingly savory cheese-stuffed bolitos de yuca.\u003c/p>\n\u003cp>As one of the Bay Area’s only ambassadors of the cuisine, Rodríguez is dedicated to replicating the flavors of the Dominican Republic as closely as possible, importing spices, fresh chiles and cured meats from the island. Her crispy, highly seasoned fried chicken is made with several imported ingredients like adobo, sazón and ají gustoso (a sweet, fruity chile). One of her most popular rotating specials is the sancocho, a soup made with a medley of root vegetables and both fresh and cured meats. She also offers a wide selection of Dominican drinks like chinola (passionfruit), lechoza (papaya shake) and morir soñando (a creamy orange shake).\u003c/p>\n\u003cfigure id=\"attachment_13985943\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo.jpg\" alt=\"A plate of fried chicken and tostones.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pica-Pollo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Fogon D’geny’s crispy, highly seasoned Dominican-style fried chicken. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, what comes across most strongly is Rodriguez’s passion for her country, which shines through in the miniature Dominican flags she uses to decorate every dish and the selection of traditional Dominican snacks she keeps on display. She says her favorite compliment is when customers say that her food makes them want to visit the Dominican Republic.\u003c/p>\n\u003cp>“I feel very proud to represent my country,” says Rodríguez. “It’s an honor to share our culture and food with the people here. I hope La Bandera Dominicana can become a part of California’s gastronomy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>El Fogon d’Geny is currently open from 10:30 a.m.–9:30 p.m. every day except Tuesdays at 796 S. 1st St. in San José. Check the truck’s \u003c/i>\u003ca href=\"https://www.instagram.com/elfogongeny/\">\u003ci>Instagram page\u003c/i>\u003c/a>\u003ci> for its most up-to-date schedule. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Home is a complicated place for \u003ca href=\"https://www.anoushkamirchandani.com/\">Anoushka Mirchandani\u003c/a>. The India-born, San Francisco-based painter — currently an artist in residence at Silver Art Projects in New York City — has recently returned to the Bay Area for her first solo museum show, \u003cem>\u003ca href=\"https://www.icasanjose.org/current-exhibitions/mybodywasariveronce/\">My Body Was A River Once\u003c/a>\u003c/em>, at the Institute of Contemporary Art San José. Here, Mirchandani transmutes transience and diasporic experience into four distinct bodies of work: medium- to large-scale oil-on-canvas paintings, paintings on silk organza, wooden and glass sculptures, and an audio installation.\u003c/p>\n\u003cp>[aside postID='arts_13985855']The first gallery in the exhibition features eight paintings that blend Mirchandani’s signature and spare figurative style with her recent exploration of landscape painting. Her nude female subjects wander and recline amidst foliage and bathe in pools of water, immersed in the landscape to the point of becoming indistinguishable. Body parts fade in and out of the natural surroundings. The background of the painting overtakes a figure’s form in some places, the figure breaks from its environment dramatically in others. \u003c/p>\n\u003cp>Often, these wanderers are solitary. In \u003cem>All Us Come Cross the Water\u003c/em>, a group of women bathe together in a mountain lake — or perhaps it is a single figure, seen at different moments in time.\u003c/p>\n\u003cp>Mirchandani has long painted these types of figures: outlined in oil stick, blending with their environments, a play between background and foreground creating a dynamic visual and conceptual motif. Previously, the majority of her settings have been architectural — balconies, bedrooms, doorways. Here, her figures blur and meld with their surrounding landscapes more seamlessly than in past work. Set loose from a built environment they once resisted or assimilated into, their disappearance into a nature now speaks to transience.\u003c/p>\n\u003cfigure id=\"attachment_13985916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000.jpg\" alt=\"large paining of woman in landscape with wooden sculptures surrounding\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Anoushka Mirchandani’s show ‘My Body Was A River Once’ at the Institute of Contemporary Art San José. \u003ccite>(ICA San José)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Mirchandani, these figures reference apsaras, shapeshifting water spirits in Hindu and Buddhist mythology. Their supernatural mutability correlates to a diasporic sense of displacement and assimilation, a process of reinventing oneself in order to locate a sense of belonging. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mirchandani’s natural settings are themselves collaged from a number of reference photos taken across the globe — India, Mount Tamalpais, New Mexico. The combined landscapes are not quite real, but not entirely imagined, either. They provide a makeshift home for Mirchandani’s ghostly characters.\u003c/p>\n\u003cp>“My family has a history of treating home like an anxious attachment with a lover,” the painter tells KQED. There is a sense of yearning throughout the work on view.\u003c/p>\n\u003cp>In each of her canvases, Mirchandani uses the same color for the underpainting, a dark red that pays homage to the natural clay of Maharashtra, the Indian state she’s from. In some places, the color bleeds through thinner parts of the overpainting; it’s a literal foundation for both the artist and her work. In her search for a sense of belonging, Mirchandani can’t quite let go of the past.\u003c/p>\n\u003cfigure id=\"attachment_13985923\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b.jpg\" alt=\"nude female figure sits beside pool of water\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13985923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Anoushka Mirchandani, ‘Cherry Springs,’ 2025; Oil, oil stick, and oil pastel on canvas. \u003ccite>(Courtesy the artist and Yossi Milo, New York; Photo by Paul Rho)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this vein, a fraught tension between place and displacement shows up in material juxtapositions throughout the show. Wall-mounted wooden sculptures dot the exhibition’s main gallery, curving around the room’s corners and bending to frame individual paintings like the gnarled limbs of trees. Each branch bears an unexpected fruit. Several wooden and glass spines sprout from the sculptures, giving them the appearance of large cacti or strange sea urchins. The glass spines glitter brilliantly at certain angles and turn invisible at others, like drops of water. \u003c/p>\n\u003cp>The sculptural forms lend to the organic theme of the landscape paintings but the spikes speak of hostility, drawing the viewer in and simultaneously warning “keep your distance.” The hostile installation feels like a declaration of possession by the artist, safeguarding her story.\u003c/p>\n\u003cp>A group of long silk paintings hang ceiling to floor in a darkened second gallery that also includes an audio installation, both titled \u003cem>I Am Everywhere the Water Has Been\u003c/em>. The silks, featuring more female bathers, function as a single, multi-panel artwork. Some panels float behind others, blurring and obscuring painted images like a view through water. The specialized audio installation, a collaboration with producer Sanaya Ardeshir, layers interviews with Mirchandani’s grandmother; field recordings from Western Ghats; and the artist’s own abstract vocalizations.\u003c/p>\n\u003cfigure id=\"attachment_13985917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000.jpg\" alt=\"paintings frame doorway with hanging silk pieces\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Anoushka Mirchandani’s show ‘My Body Was A River Once’ at the Institute of Contemporary Art San José. \u003ccite>(ICA San José)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirchandani only recently began talking to her grandmother, who lived through the 1947 partition of India, about her experiences of migration. She has recorded and compiled the conversations into an archive that’s now starting to inform her painting practice, as well as her 2024 documentary short \u003cem>\u003ca href=\"https://www.anoushkamirchandani.com/new-page-3\">Landscapes of Longing\u003c/a>\u003c/em>. The archive itself is part reality, part fiction and part myth, and the audio installation at the ICA San José is similarly fragmented, layered intentionally to further obscure any coherent narrative.\u003c/p>\n\u003cp>“My archive is very fluid and amorphous,” Mirchandani says. “My family doesn’t have any heirlooms — just oral history and a few photos.”\u003c/p>\n\u003cp>Mirchandani’s family history is as collaged as the landscapes her figures occupy. It exists as snatches of memory and second-hand knowledge passed down through generations. So it follows that her representation of that history would feel pieced together, too. \u003c/p>\n\u003cp>The artist’s fragmented approach to this narrative is in some ways intentional, and in other ways symptomatic. In conveying the experience of an unsettled state of being, \u003cem>My Body Was A River Once\u003c/em> also feels full of potential, on the verge of something more expansive. While the show is a bold departure into new territory for the artist, it’s clearly just the first step. I can’t wait to see where in the world Mirchandani goes next.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.icasanjose.org/current-exhibitions/mybodywasariveronce/\">My Body Was A River Once\u003c/a>’ is on view at the ICA San José (560 S 1st St., San José) through Aug. 23, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first gallery in the exhibition features eight paintings that blend Mirchandani’s signature and spare figurative style with her recent exploration of landscape painting. Her nude female subjects wander and recline amidst foliage and bathe in pools of water, immersed in the landscape to the point of becoming indistinguishable. Body parts fade in and out of the natural surroundings. The background of the painting overtakes a figure’s form in some places, the figure breaks from its environment dramatically in others. \u003c/p>\n\u003cp>Often, these wanderers are solitary. In \u003cem>All Us Come Cross the Water\u003c/em>, a group of women bathe together in a mountain lake — or perhaps it is a single figure, seen at different moments in time.\u003c/p>\n\u003cp>Mirchandani has long painted these types of figures: outlined in oil stick, blending with their environments, a play between background and foreground creating a dynamic visual and conceptual motif. Previously, the majority of her settings have been architectural — balconies, bedrooms, doorways. Here, her figures blur and meld with their surrounding landscapes more seamlessly than in past work. Set loose from a built environment they once resisted or assimilated into, their disappearance into a nature now speaks to transience.\u003c/p>\n\u003cfigure id=\"attachment_13985916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000.jpg\" alt=\"large paining of woman in landscape with wooden sculptures surrounding\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A1968_V3_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Anoushka Mirchandani’s show ‘My Body Was A River Once’ at the Institute of Contemporary Art San José. \u003ccite>(ICA San José)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Mirchandani, these figures reference apsaras, shapeshifting water spirits in Hindu and Buddhist mythology. Their supernatural mutability correlates to a diasporic sense of displacement and assimilation, a process of reinventing oneself in order to locate a sense of belonging. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mirchandani’s natural settings are themselves collaged from a number of reference photos taken across the globe — India, Mount Tamalpais, New Mexico. The combined landscapes are not quite real, but not entirely imagined, either. They provide a makeshift home for Mirchandani’s ghostly characters.\u003c/p>\n\u003cp>“My family has a history of treating home like an anxious attachment with a lover,” the painter tells KQED. There is a sense of yearning throughout the work on view.\u003c/p>\n\u003cp>In each of her canvases, Mirchandani uses the same color for the underpainting, a dark red that pays homage to the natural clay of Maharashtra, the Indian state she’s from. In some places, the color bleeds through thinner parts of the overpainting; it’s a literal foundation for both the artist and her work. In her search for a sense of belonging, Mirchandani can’t quite let go of the past.\u003c/p>\n\u003cfigure id=\"attachment_13985923\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b.jpg\" alt=\"nude female figure sits beside pool of water\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13985923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Photo-credit_-Paul-Rho_2000b-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Anoushka Mirchandani, ‘Cherry Springs,’ 2025; Oil, oil stick, and oil pastel on canvas. \u003ccite>(Courtesy the artist and Yossi Milo, New York; Photo by Paul Rho)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this vein, a fraught tension between place and displacement shows up in material juxtapositions throughout the show. Wall-mounted wooden sculptures dot the exhibition’s main gallery, curving around the room’s corners and bending to frame individual paintings like the gnarled limbs of trees. Each branch bears an unexpected fruit. Several wooden and glass spines sprout from the sculptures, giving them the appearance of large cacti or strange sea urchins. The glass spines glitter brilliantly at certain angles and turn invisible at others, like drops of water. \u003c/p>\n\u003cp>The sculptural forms lend to the organic theme of the landscape paintings but the spikes speak of hostility, drawing the viewer in and simultaneously warning “keep your distance.” The hostile installation feels like a declaration of possession by the artist, safeguarding her story.\u003c/p>\n\u003cp>A group of long silk paintings hang ceiling to floor in a darkened second gallery that also includes an audio installation, both titled \u003cem>I Am Everywhere the Water Has Been\u003c/em>. The silks, featuring more female bathers, function as a single, multi-panel artwork. Some panels float behind others, blurring and obscuring painted images like a view through water. The specialized audio installation, a collaboration with producer Sanaya Ardeshir, layers interviews with Mirchandani’s grandmother; field recordings from Western Ghats; and the artist’s own abstract vocalizations.\u003c/p>\n\u003cfigure id=\"attachment_13985917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000.jpg\" alt=\"paintings frame doorway with hanging silk pieces\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/0T5A2146_V2_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Anoushka Mirchandani’s show ‘My Body Was A River Once’ at the Institute of Contemporary Art San José. \u003ccite>(ICA San José)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirchandani only recently began talking to her grandmother, who lived through the 1947 partition of India, about her experiences of migration. She has recorded and compiled the conversations into an archive that’s now starting to inform her painting practice, as well as her 2024 documentary short \u003cem>\u003ca href=\"https://www.anoushkamirchandani.com/new-page-3\">Landscapes of Longing\u003c/a>\u003c/em>. The archive itself is part reality, part fiction and part myth, and the audio installation at the ICA San José is similarly fragmented, layered intentionally to further obscure any coherent narrative.\u003c/p>\n\u003cp>“My archive is very fluid and amorphous,” Mirchandani says. “My family doesn’t have any heirlooms — just oral history and a few photos.”\u003c/p>\n\u003cp>Mirchandani’s family history is as collaged as the landscapes her figures occupy. It exists as snatches of memory and second-hand knowledge passed down through generations. So it follows that her representation of that history would feel pieced together, too. \u003c/p>\n\u003cp>The artist’s fragmented approach to this narrative is in some ways intentional, and in other ways symptomatic. In conveying the experience of an unsettled state of being, \u003cem>My Body Was A River Once\u003c/em> also feels full of potential, on the verge of something more expansive. While the show is a bold departure into new territory for the artist, it’s clearly just the first step. I can’t wait to see where in the world Mirchandani goes next.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.icasanjose.org/current-exhibitions/mybodywasariveronce/\">My Body Was A River Once\u003c/a>’ is on view at the ICA San José (560 S 1st St., San José) through Aug. 23, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Eclectic, Open-Call Art Show Returns to Works/San José",
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"content": "\u003cp>\u003ca href=\"http://www.hadiaghaeefineart.com/\">Hadi Aghaee\u003c/a> paints former President Joe Biden with three heads: One as a demonic caricature, another as the Joker, and another as a figure frozen in rage. Biden orders soldiers as he stands atop the back of an American taxpayer whose money is being siphoned to fund wars and global conflicts. Yet the center of attention is on the painting’s namesakes: \u003cem>Baseball, Booze and Beyoncé\u003c/em>!\u003c/p>\n\u003cp>In this visually stimulating scene inspired by Biden’s final year in office, Aghaee critiques America’s fascination with sports and entertainment, and how spectacle distracts from social and political struggles.\u003c/p>\n\u003cp>“[The government] keeps you busy with entertainment,” Aghaee tells KQED, “so you don’t have time to think about or question what they’re doing.”\u003c/p>\n\u003cp>His painting will appear in Works/San José’s open-call exhibition, \u003cem>\u003ca href=\"https://workssanjose.org/2026/01/10/super-hunger-anti-valentine-bowl-games-returns-with-part-lx/\">Super Hunger Anti-Valentine Bowl Games Part LX\u003c/a>\u003c/em>, on view Jan. 24–Feb. 15, 2026.\u003c/p>\n\u003cfigure id=\"attachment_13985762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000.jpg\" alt=\"painting with central figure, soldiers, crowds, animals and flags emerging from fires\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hadi Aghaee, ‘Baseball, Booze and Beyoncé!’ 2025. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A similar show was staged there 10 years ago, when the Denver Broncos faced off against the Carolina Panthers at Levi’s Stadium. Back then, the gallery created a deliberate hodgepodge exhibition as part of San José’s broader Super Bowl cultural programming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Works combined its biennial Anti-Valentine show; America’s obsession with sports; and excitement around \u003cem>The Hunger Games: Mockingjay Part 2\u003c/em> movie, released in late 2015. A decade later, these elements have aligned once again: the \u003ca href=\"https://www.kqed.org/news/12062767/nfl-unveils-super-bowl-lx-events-spanning-san-francisco-san-jose-and-east-bay\">Super Bowl returns to Levi’s Stadium\u003c/a>, anti-Valentine season is back at Works, and a new \u003cem>Hunger Games\u003c/em> film will hit theaters in November.\u003c/p>\n\u003cp>“The mashup thing is just to have fun,” Works President Joe Miller says. “Works is always pushing the envelope a little bit, things that other art spaces say, ‘That’s a little too raw, or that makes me uncomfortable.’ … We’re not concerned about those things. We’re just concerned about: Is it something we haven’t done before? Is it somebody we haven’t shown before? And is their work worth seeing?”\u003c/p>\n\u003cp>This year’s open call features artwork that pertains to one, two or all three of the respective themes, like Aghaee’s painting, which captures the intersection between sports, love and violence.\u003c/p>\n\u003cfigure id=\"attachment_13985763\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985763\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000.jpg\" alt=\"man being taken away from a crying child within heart-shaped bouquet of flowers\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A painting by Mireya Villanueva in ‘Super Hunger Anti-Valentine Bowl Games Part LX’ at Works/San José. \u003ccite>(Joe Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A longtime San José resident, Aghaee moved from Shiraz, Iran as a 19-year-old to pursue an engineering degree at Southern Illinois University. Drawing was a hobby he maintained growing up, but immigrating to a new country while learning English and working three jobs to stay afloat put a 35-year halt to his artistic endeavors. It wasn’t until 2014, when a friend recommended he get back into art, that he learned a new medium altogether: painting.\u003c/p>\n\u003cp>Painting not only became a therapeutic outlet, but a way to comment on the social and political issues going on around him.\u003c/p>\n\u003cp>[aside postID='arts_13985338']“I returned to art, and boy, it’s the best medicine for any problem,” Aghaee says. “Pick up art, whether it’s music or painting or whatever, it really heals. To make it heal even faster, if you think of other people who have problems bigger than yours, you forget about your own problem. It’s all solved, it’s all gone. That’s why I picked up social issues and politics, because when I look at what other people are going through, my problem is nothing.”\u003c/p>\n\u003cp>Since returning to art making, Aghaee has shown at a variety of Bay Area institutions, including San Francisco’s de Young Museum, the Euphrat Museum of Art at De Anza College, and Santa Clara’s Triton Museum. A common theme in his works are people — a lot of them. Many of his paintings depict crowds in crisis; whether grappling with COVID-19 or experiencing the chaos of election season, his subjects are constantly in turmoil.\u003c/p>\n\u003cp>Aghaee’s \u003cem>Baseball, Booze and Beyoncé!\u003c/em> reflects a different year and different administration, but he finds that imbalance of power remains unresolved in 2026. Those same concerns extend beyond the U.S., as protests in Iran have surged against the Islamic Republic.\u003c/p>\n\u003cp>Aghaee has watched his home country’s unrest with both urgency and personal grief. These events will inform his next body of work, he says. They are another example of how political power repeatedly fails the people it governs.\u003c/p>\n\u003cp>“The message is the same,” Aghaee says. “The message even goes with other countries, it’s not just the U.S. A lot of countries put too much of their budget toward military and war. That’s why they don’t have enough money to use for social needs.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://workssanjose.org/2026/01/10/super-hunger-anti-valentine-bowl-games-returns-with-part-lx/\">Super Hunger Anti-Valentine Bowl Games Part LX\u003c/a>’ is on view at Works/San José (38 South Second St., San José) on weekends, Jan. 24–Feb. 15, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hadiaghaeefineart.com/\">Hadi Aghaee\u003c/a> paints former President Joe Biden with three heads: One as a demonic caricature, another as the Joker, and another as a figure frozen in rage. Biden orders soldiers as he stands atop the back of an American taxpayer whose money is being siphoned to fund wars and global conflicts. Yet the center of attention is on the painting’s namesakes: \u003cem>Baseball, Booze and Beyoncé\u003c/em>!\u003c/p>\n\u003cp>In this visually stimulating scene inspired by Biden’s final year in office, Aghaee critiques America’s fascination with sports and entertainment, and how spectacle distracts from social and political struggles.\u003c/p>\n\u003cp>“[The government] keeps you busy with entertainment,” Aghaee tells KQED, “so you don’t have time to think about or question what they’re doing.”\u003c/p>\n\u003cp>His painting will appear in Works/San José’s open-call exhibition, \u003cem>\u003ca href=\"https://workssanjose.org/2026/01/10/super-hunger-anti-valentine-bowl-games-returns-with-part-lx/\">Super Hunger Anti-Valentine Bowl Games Part LX\u003c/a>\u003c/em>, on view Jan. 24–Feb. 15, 2026.\u003c/p>\n\u003cfigure id=\"attachment_13985762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000.jpg\" alt=\"painting with central figure, soldiers, crowds, animals and flags emerging from fires\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/HadiAghaee_Baseball-Booze-n-Beyonce_acrylic_48X48_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hadi Aghaee, ‘Baseball, Booze and Beyoncé!’ 2025. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A similar show was staged there 10 years ago, when the Denver Broncos faced off against the Carolina Panthers at Levi’s Stadium. Back then, the gallery created a deliberate hodgepodge exhibition as part of San José’s broader Super Bowl cultural programming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Works combined its biennial Anti-Valentine show; America’s obsession with sports; and excitement around \u003cem>The Hunger Games: Mockingjay Part 2\u003c/em> movie, released in late 2015. A decade later, these elements have aligned once again: the \u003ca href=\"https://www.kqed.org/news/12062767/nfl-unveils-super-bowl-lx-events-spanning-san-francisco-san-jose-and-east-bay\">Super Bowl returns to Levi’s Stadium\u003c/a>, anti-Valentine season is back at Works, and a new \u003cem>Hunger Games\u003c/em> film will hit theaters in November.\u003c/p>\n\u003cp>“The mashup thing is just to have fun,” Works President Joe Miller says. “Works is always pushing the envelope a little bit, things that other art spaces say, ‘That’s a little too raw, or that makes me uncomfortable.’ … We’re not concerned about those things. We’re just concerned about: Is it something we haven’t done before? Is it somebody we haven’t shown before? And is their work worth seeing?”\u003c/p>\n\u003cp>This year’s open call features artwork that pertains to one, two or all three of the respective themes, like Aghaee’s painting, which captures the intersection between sports, love and violence.\u003c/p>\n\u003cfigure id=\"attachment_13985763\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985763\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000.jpg\" alt=\"man being taken away from a crying child within heart-shaped bouquet of flowers\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Mireya-Villanueva_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A painting by Mireya Villanueva in ‘Super Hunger Anti-Valentine Bowl Games Part LX’ at Works/San José. \u003ccite>(Joe Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A longtime San José resident, Aghaee moved from Shiraz, Iran as a 19-year-old to pursue an engineering degree at Southern Illinois University. Drawing was a hobby he maintained growing up, but immigrating to a new country while learning English and working three jobs to stay afloat put a 35-year halt to his artistic endeavors. It wasn’t until 2014, when a friend recommended he get back into art, that he learned a new medium altogether: painting.\u003c/p>\n\u003cp>Painting not only became a therapeutic outlet, but a way to comment on the social and political issues going on around him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I returned to art, and boy, it’s the best medicine for any problem,” Aghaee says. “Pick up art, whether it’s music or painting or whatever, it really heals. To make it heal even faster, if you think of other people who have problems bigger than yours, you forget about your own problem. It’s all solved, it’s all gone. That’s why I picked up social issues and politics, because when I look at what other people are going through, my problem is nothing.”\u003c/p>\n\u003cp>Since returning to art making, Aghaee has shown at a variety of Bay Area institutions, including San Francisco’s de Young Museum, the Euphrat Museum of Art at De Anza College, and Santa Clara’s Triton Museum. A common theme in his works are people — a lot of them. Many of his paintings depict crowds in crisis; whether grappling with COVID-19 or experiencing the chaos of election season, his subjects are constantly in turmoil.\u003c/p>\n\u003cp>Aghaee’s \u003cem>Baseball, Booze and Beyoncé!\u003c/em> reflects a different year and different administration, but he finds that imbalance of power remains unresolved in 2026. Those same concerns extend beyond the U.S., as protests in Iran have surged against the Islamic Republic.\u003c/p>\n\u003cp>Aghaee has watched his home country’s unrest with both urgency and personal grief. These events will inform his next body of work, he says. They are another example of how political power repeatedly fails the people it governs.\u003c/p>\n\u003cp>“The message is the same,” Aghaee says. “The message even goes with other countries, it’s not just the U.S. A lot of countries put too much of their budget toward military and war. That’s why they don’t have enough money to use for social needs.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://workssanjose.org/2026/01/10/super-hunger-anti-valentine-bowl-games-returns-with-part-lx/\">Super Hunger Anti-Valentine Bowl Games Part LX\u003c/a>’ is on view at Works/San José (38 South Second St., San José) on weekends, Jan. 24–Feb. 15, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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