How Dzui’s Became San José’s Favorite Durian Dessert Shop
While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants
This San José Food Truck Is One of the Only Dominican Food Spots in the Bay
In ICA San José Show, Landscapes Offer a Makeshift Home for Ghostly Figures
An Eclectic, Open-Call Art Show Returns to Works/San José
Meet Jerry Nagano, One of the Bay Area’s Last Great Theater Organists
This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts
A New San José Food Stall Specializes in Vietnamese Rice Cake Omelettes
Filipino and Queer Pride Collide at Kababayan Drag Brunch
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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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"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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"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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"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>\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>\u003c/p>\u003c/div>",
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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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"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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"content": "\u003cp>Jerry Nagano is a walking, talking, breathing slice of nostalgia.\u003c/p>\n\u003cp>The organist has spent years as a popular pre- and post-show staple in the lobbies of the \u003ca href=\"https://stanfordtheatre.org/aboutWurlitzer.html\">Stanford Theatre\u003c/a> in Palo Alto and the \u003ca href=\"https://sanjosetheaters.org/theaters/california-theatre/\">California Theatre\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San Jose\u003c/a>. But where Nagano still gets his biggest shoutouts is from those who recognize him from a gig he started back in the late 1980s — at Hayward’s Ye Olde Pizza Joynt, where delicious pies were being served alongside tunes from Nagano’s Mighty Wurlitzer organ.\u003c/p>\n\u003cp>“Being in the Bay Area, if someone comes up to me and says, ‘I heard you at…,’ it’s almost always at the Pizza Joynt,” said Nagano, who took up the organ as a kid in his native Los Angeles because he didn’t feel the thrill or challenge of a piano.\u003c/p>\n\u003cfigure id=\"attachment_13984826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Nagano plays the California Theatre’s 1928 Wurlitzer lobby organ in San Jose on Dec. 10, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s, pizza paired with organs was all the rage nationwide. But in the following decade, organs and organists began to disappear. Pizza and entertainment entered a new phase in 1977, when Atari founder Nolan Bushnell planted his latest creation in San Jose, the very first Chuck E. Cheese’s Pizza Time Theatre.\u003c/p>\n\u003cp>Hungry customers flocked to see Chuck E. Cheese and his buddies, such as Jasper T. Jowls and a lion named “The King” that sang in the style of Elvis. But even as pizza and pipes were ready to enter their swan song, Ye Olde Pizza Joynt had plenty of great years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ye Olde Pizza Joynt opened on Hesperian Boulevard in 1958, but a fire silenced the organ — and some of the East Bay’s best pizza — for good in 2003. Fortunately, despite smoke damage to the organ’s console, the pipes were salvaged, protected by the thick oak shutters that controlled the volume.\u003c/p>\n\u003cp>Nagano started at Ye Olde around 1988 and played there until 1997, serving as one of only four organists the place ever had. The most famous of those was Bill Langford, who played at Ye Olde for 18 years until 1981. “My audiences were the children of Bill Langford,” Nagano said.\u003c/p>\n\u003cfigure id=\"attachment_13984824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Organist Jerry Nagano poses with the lobby pipe organ at the California Theatre in San Jose on Dec. 10, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nagano played organ full time for his first five years at Ye Olde. Five nights a week, he perched at his instrument, with vinyl albums emblazoned with \u003cem>Jerry\u003c/em> for sale off to the side. Monkey toys crashing cymbals and a train whistle added even more texture. Despite the fun of his gig, he now had a mortgage in San Jose, and the prospects of a 40-year career as an organist wasn’t going to get things paid.\u003c/p>\n\u003cp>Nagano, who has an undergraduate degree from UCLA, began taking computer classes at De Anza College in Cupertino during the day, which first led to a job at NASA and then a career at Stanford as an electrical engineer from 1998 to 2024. Five days a week in Hayward became two.\u003c/p>\n\u003cp>Despite his new full-time gig, Nagano found a way to keep his very unique skill going.\u003c/p>\n\u003cp>“When I started this year from hell of doing college classes, going to NASA and playing at the Pizza Joynt, someone decided, ‘OK, you don’t have enough to do, so let’s throw another something on your plate for you to spin — would you be the Tuesday night organist at the Stanford Theatre?’” Nagano recalled. “That was one of my two free nights, so another night was taken up.”\u003c/p>\n\u003cfigure id=\"attachment_13984823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Organist Jerry Nagano plays the lobby’s restored 1928 Wurlitzer pipe organ at the California Theatre in San Jose on Dec. 10, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now 67 years old, Nagano splits his time between the Stanford Theatre and the California Theatre, the organ programming in both venues supported by the Packard Humanities Institute. Nagano has a knack for dazzling audiences with tunes that often fit the bills of the respective venues, especially at Stanford, which specializes in playing vintage films as far back as the silent era.\u003c/p>\n\u003cp>Opera San Jose General Director and CEO Shawna Lucey understands that in today’s modern era, where competition for one’s entertainment dollar is fierce, opera is more than a rustic stage and beautiful singing. Going to the opera is an event, where patrons bask in the thrill of the world’s greatest vocal compositions. Nagano has been a staple for those attending the California’s many events since 2008, and having a Bay Area icon in the house just amplifies the setting even more. [aside postid='arts_13984704']\u003c/p>\n\u003cp>“It’s a special thing from this region that we have remarkable talent, and Jerry is delighting audiences with the sounds of one of the most classic American experiences. It just doesn’t get any better than that,” said Lucey, whose father, like Nagano, is a retired electrical engineer. “We have Jerry play, but he doesn’t just play. He talks to our audiences and explains things about the Wurlitzer organ, which is really exciting for our patrons and audiences both young and old.”\u003c/p>\n\u003cp>Watching Nagano dive into the two-, three- or four-manual organ is to watch an American master in motion. In the dimly lit lobby of the California Theatre, where the 1928 two-manual instrument is housed, each keyboard has 61 keys, with 32 more notes at his nimble feet. That’s not to mention the plethora of sound buttons that surround the keys just above, featuring every brass, woodwind or percussion sound imaginable. [aside postid='arts_13984286']\u003c/p>\n\u003cp>The Mighty Wurlitzer and all its iterations have seen their best days. In the Bay Area, those days are largely attributed to the few folks like Nagano, keeping a tradition alive that is straight from the pages of classic Americana. Nagano still enjoys playing, still loves sitting down and cranking out a Broadway tune, even keeping tricks up his sleeve from newer shows like \u003cem>Hamilton\u003c/em> or classic rock bands such as Led Zeppelin.\u003c/p>\n\u003cp>The only rules Nagano has are his own. No matter the setting — in fancy dress at the opera, enjoying a film from the golden age of cinema, or, back in the day, scarfing down pepperoni slices with your family — Nagano’s number-one rule is all about having fun.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There are many other organists in the business that play better and more accurately than I do, and I always refer to them as the organists that want to impress people,” Nagano said. “That was the point where I said, ‘I would much rather entertain my audience than impress them, so I will work on giving my audience a fun, good time.’ You might be impressed or you might not be, but I sure hope you have a good time while you’re listening.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Nagano is a walking, talking, breathing slice of nostalgia.\u003c/p>\n\u003cp>The organist has spent years as a popular pre- and post-show staple in the lobbies of the \u003ca href=\"https://stanfordtheatre.org/aboutWurlitzer.html\">Stanford Theatre\u003c/a> in Palo Alto and the \u003ca href=\"https://sanjosetheaters.org/theaters/california-theatre/\">California Theatre\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San Jose\u003c/a>. But where Nagano still gets his biggest shoutouts is from those who recognize him from a gig he started back in the late 1980s — at Hayward’s Ye Olde Pizza Joynt, where delicious pies were being served alongside tunes from Nagano’s Mighty Wurlitzer organ.\u003c/p>\n\u003cp>“Being in the Bay Area, if someone comes up to me and says, ‘I heard you at…,’ it’s almost always at the Pizza Joynt,” said Nagano, who took up the organ as a kid in his native Los Angeles because he didn’t feel the thrill or challenge of a piano.\u003c/p>\n\u003cfigure id=\"attachment_13984826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Nagano plays the California Theatre’s 1928 Wurlitzer lobby organ in San Jose on Dec. 10, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s, pizza paired with organs was all the rage nationwide. But in the following decade, organs and organists began to disappear. Pizza and entertainment entered a new phase in 1977, when Atari founder Nolan Bushnell planted his latest creation in San Jose, the very first Chuck E. Cheese’s Pizza Time Theatre.\u003c/p>\n\u003cp>Hungry customers flocked to see Chuck E. Cheese and his buddies, such as Jasper T. Jowls and a lion named “The King” that sang in the style of Elvis. But even as pizza and pipes were ready to enter their swan song, Ye Olde Pizza Joynt had plenty of great years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ye Olde Pizza Joynt opened on Hesperian Boulevard in 1958, but a fire silenced the organ — and some of the East Bay’s best pizza — for good in 2003. Fortunately, despite smoke damage to the organ’s console, the pipes were salvaged, protected by the thick oak shutters that controlled the volume.\u003c/p>\n\u003cp>Nagano started at Ye Olde around 1988 and played there until 1997, serving as one of only four organists the place ever had. The most famous of those was Bill Langford, who played at Ye Olde for 18 years until 1981. “My audiences were the children of Bill Langford,” Nagano said.\u003c/p>\n\u003cfigure id=\"attachment_13984824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Organist Jerry Nagano poses with the lobby pipe organ at the California Theatre in San Jose on Dec. 10, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nagano played organ full time for his first five years at Ye Olde. Five nights a week, he perched at his instrument, with vinyl albums emblazoned with \u003cem>Jerry\u003c/em> for sale off to the side. Monkey toys crashing cymbals and a train whistle added even more texture. Despite the fun of his gig, he now had a mortgage in San Jose, and the prospects of a 40-year career as an organist wasn’t going to get things paid.\u003c/p>\n\u003cp>Nagano, who has an undergraduate degree from UCLA, began taking computer classes at De Anza College in Cupertino during the day, which first led to a job at NASA and then a career at Stanford as an electrical engineer from 1998 to 2024. Five days a week in Hayward became two.\u003c/p>\n\u003cp>Despite his new full-time gig, Nagano found a way to keep his very unique skill going.\u003c/p>\n\u003cp>“When I started this year from hell of doing college classes, going to NASA and playing at the Pizza Joynt, someone decided, ‘OK, you don’t have enough to do, so let’s throw another something on your plate for you to spin — would you be the Tuesday night organist at the Stanford Theatre?’” Nagano recalled. “That was one of my two free nights, so another night was taken up.”\u003c/p>\n\u003cfigure id=\"attachment_13984823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20251210_JERRYNAGANO_DECEMBER_GH-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Organist Jerry Nagano plays the lobby’s restored 1928 Wurlitzer pipe organ at the California Theatre in San Jose on Dec. 10, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now 67 years old, Nagano splits his time between the Stanford Theatre and the California Theatre, the organ programming in both venues supported by the Packard Humanities Institute. Nagano has a knack for dazzling audiences with tunes that often fit the bills of the respective venues, especially at Stanford, which specializes in playing vintage films as far back as the silent era.\u003c/p>\n\u003cp>Opera San Jose General Director and CEO Shawna Lucey understands that in today’s modern era, where competition for one’s entertainment dollar is fierce, opera is more than a rustic stage and beautiful singing. Going to the opera is an event, where patrons bask in the thrill of the world’s greatest vocal compositions. Nagano has been a staple for those attending the California’s many events since 2008, and having a Bay Area icon in the house just amplifies the setting even more. \u003c/p>\u003c/div>",
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"content": "\u003cp>You might imagine that most egg tarts are relatively indistinguishable, with their pastry cups and plain, sunglow-colored custard filling. You wouldn’t necessarily expect the treats to get remixed into dozens of different flavors.\u003c/p>\n\u003cp>That hasn’t stopped \u003ca href=\"https://www.instagram.com/a.m.patisserie\">A&M Pâtisserie\u003c/a>. The San José–based bakery pop-up sells a whopping eighteen different egg tart flavors, many of them inspired by various Asian cuisines. At a makers’ market at the Santa Clara Convention Center in November, a perpetual line of at least fifty customers swarmed the A&M booth for hours, everyone scanning the banner menu to decide which of the palm-sized egg tarts to order. A wide range of unconventional toppings included things like toasted marshmallows, flame-kissed corn kernels, \u003ca href=\"https://www.epicurious.com/recipes/food/views/milk-crumb-382321\">milk crumbs\u003c/a> and caramelized banana slices.\u003c/p>\n\u003cp>Alice Ngo and Minh Pham first started making egg tarts at home during the COVID lockdown. “We got laid off and had nothing to do,” says Pham. “Alice got bored and started baking.”\u003c/p>\n\u003cp>Ngo taught herself how to make Portuguese egg tarts (aka pastéis de nata) by watching YouTube videos. After getting positive feedback from friends and family, the couple started selling the pastries to the public through Instagram and Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13984906\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg\" alt=\"An Asian woman and man in matching black hooded sweatshirts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A&M founders Alice Ngo (left) and Minh Pham. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t a baker, I was a cook,” says Pham. “But I enjoy pastries since I was born in France.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He moved to the United States in 2016 to pursue a tech career, but decided against working a desk job. Instead, he started working in restaurants and took cooking classes through the hospitality management program at Mission College. These days, Pham is the primary egg tart producer, juggling the pop-up with his day job as a baker at Alexander’s Patisserie. Meanwhile, Ngo uses her experience working at a hotel to handle the pop-up’s front-of-house operations and customer service.\u003c/p>\n\u003cp>The defining characteristic of a Portuguese-style egg tart is the custard filling’s blistered, caramelized top, which sets it apart from both British egg tarts and Cantonese \u003ca href=\"https://www.seriouseats.com/daan-tat-hong-kong-style-egg-tart-5208534\">dan tat\u003c/a> — the popular dim sum dish that is probably the best-known egg tart variation here in the Bay Area. Meanwhile, Macau, a former Portuguese territory, is known for egg tarts with a scorched custard that’s eggier and less sweet than pastel de nata. The distinctions between the styles have blurred over time, but originally British custard tarts used a shortbread crust and the others were made with puff pastry.\u003c/p>\n\u003cfigure id=\"attachment_13984904\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg\" alt=\"Display case with 18 different varieties of egg tarts.\" width=\"2000\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-1536x710.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All 18 flavors in the display case at an A&M pop-up event in November 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ngo and Pham eventually shifted away from the traditional pastel de nata because they wanted their egg tarts to be lighter and less sweet. They make the puff pastry shell extra-crispy and flaky to complement their creamy custards.\u003c/p>\n\u003cp>“I wanted something in between so I took the best of both and created my own,” says Pham. “It’s not Macau. It’s not Portuguese. It’s A&M’s.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13983625,arts_13984330,arts_13981935']\u003c/span>But the biggest thing that sets A&M Pâtisserie’s egg tarts apart is the sheer variety of flavors. The menu is ever growing as the bakers draw inspiration from their favorite pastries and restaurant dishes. Their guava egg tart is modeled after the guava-and-cheese strudel at Porto’s, the legendary Los Angeles–based Cuban bakery. The corn cheese flavor was inspired by kon-chijeu, their favorite Korean banchan. A few of A&M’s egg tarts, like the honey-garlic flavor, even have savory elements. The bakery also sells cookies, macarons and canelés.\u003c/p>\n\u003cp>A&M’s first large pop-ups were at FoodieLand’s 2023 festival series, which spanned several cities including Sacramento, Berkeley and San Mateo. Now, the bakery’s busiest events of the year are SJMade’s November Holiday Fair and its Winter Wonder Market in December. “The first year, we brought 600 and sold out within three hours,” Pham says of the holiday fair. “Then, the second year we brought 800 and sold out by 2 p.m.” This year, they scaled up to 1,500 egg tarts for each day of the two-day event, which required an entire month of prep time. The most time-consuming component is the multi-layered puff pastry, which takes hours to assemble.\u003c/p>\n\u003cfigure id=\"attachment_13984903\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg\" alt=\"Long line of customers waiting to buy egg tarts. A large banner overhead shows the different flavors available. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A long line of customers waiting to order at one of A&M’s pop-ups. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During my visit to the A&M booth at last month’s SJMade Holiday Fair, I split a six-pack of egg tarts with my fiancée, my cousin and his girlfriend. After each bite, there was an audible “mmm” from each member of the party. We loved the classic egg tart custard’s glassy surface and creamy, light interior. My favorite was the yuzu egg tart, which had an intense acidity to balance the butteriness of the crust and strips of candied yuzu peel to mellow out the experience. A close second was the seasonal pistachio egg tart with chunks of pistachio on top for some crunch. Each person in the group had their own favorite.\u003c/p>\n\u003cp>The bakery’s next step will be to experiment with savory egg tarts that have a quiche-like filling. Pham plans to introduce these to the menu once he figures out a way to bring an oven into their pop-up space, so he can serve them warm. He and Ngo are also constantly improving their existing flavors — the matcha egg tart is being upgraded to matcha mochi, and the s’mores tart will soon incorporate homemade marshmallow. The pop-up’s next seasonal special is a salted egg yolk tart that’s scheduled to release around Lunar New Year.\u003c/p>\n\u003cp>“We have 18 flavors of egg tarts now,” says Pham. “I can say confidently we’re the only ones offering that many flavors.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/a.m.patisserie/\">\u003ci>A&M Pâtisserie\u003c/i>\u003c/a>\u003ci> pops up at events around the Bay. The next pop-up is at the \u003c/i>\u003ca href=\"https://www.sanjosemade.com/pages/winter-wonder-market-2025\">\u003ci>SJ Made Winter Wonder Market\u003c/i>\u003c/a>\u003ci> at South Hall (435 S. Market St., San José) on Dec. 13–14, 11 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might imagine that most egg tarts are relatively indistinguishable, with their pastry cups and plain, sunglow-colored custard filling. You wouldn’t necessarily expect the treats to get remixed into dozens of different flavors.\u003c/p>\n\u003cp>That hasn’t stopped \u003ca href=\"https://www.instagram.com/a.m.patisserie\">A&M Pâtisserie\u003c/a>. The San José–based bakery pop-up sells a whopping eighteen different egg tart flavors, many of them inspired by various Asian cuisines. At a makers’ market at the Santa Clara Convention Center in November, a perpetual line of at least fifty customers swarmed the A&M booth for hours, everyone scanning the banner menu to decide which of the palm-sized egg tarts to order. A wide range of unconventional toppings included things like toasted marshmallows, flame-kissed corn kernels, \u003ca href=\"https://www.epicurious.com/recipes/food/views/milk-crumb-382321\">milk crumbs\u003c/a> and caramelized banana slices.\u003c/p>\n\u003cp>Alice Ngo and Minh Pham first started making egg tarts at home during the COVID lockdown. “We got laid off and had nothing to do,” says Pham. “Alice got bored and started baking.”\u003c/p>\n\u003cp>Ngo taught herself how to make Portuguese egg tarts (aka pastéis de nata) by watching YouTube videos. After getting positive feedback from friends and family, the couple started selling the pastries to the public through Instagram and Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13984906\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg\" alt=\"An Asian woman and man in matching black hooded sweatshirts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A&M founders Alice Ngo (left) and Minh Pham. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t a baker, I was a cook,” says Pham. “But I enjoy pastries since I was born in France.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He moved to the United States in 2016 to pursue a tech career, but decided against working a desk job. Instead, he started working in restaurants and took cooking classes through the hospitality management program at Mission College. These days, Pham is the primary egg tart producer, juggling the pop-up with his day job as a baker at Alexander’s Patisserie. Meanwhile, Ngo uses her experience working at a hotel to handle the pop-up’s front-of-house operations and customer service.\u003c/p>\n\u003cp>The defining characteristic of a Portuguese-style egg tart is the custard filling’s blistered, caramelized top, which sets it apart from both British egg tarts and Cantonese \u003ca href=\"https://www.seriouseats.com/daan-tat-hong-kong-style-egg-tart-5208534\">dan tat\u003c/a> — the popular dim sum dish that is probably the best-known egg tart variation here in the Bay Area. Meanwhile, Macau, a former Portuguese territory, is known for egg tarts with a scorched custard that’s eggier and less sweet than pastel de nata. The distinctions between the styles have blurred over time, but originally British custard tarts used a shortbread crust and the others were made with puff pastry.\u003c/p>\n\u003cfigure id=\"attachment_13984904\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg\" alt=\"Display case with 18 different varieties of egg tarts.\" width=\"2000\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-1536x710.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All 18 flavors in the display case at an A&M pop-up event in November 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ngo and Pham eventually shifted away from the traditional pastel de nata because they wanted their egg tarts to be lighter and less sweet. They make the puff pastry shell extra-crispy and flaky to complement their creamy custards.\u003c/p>\n\u003cp>“I wanted something in between so I took the best of both and created my own,” says Pham. “It’s not Macau. It’s not Portuguese. It’s A&M’s.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>But the biggest thing that sets A&M Pâtisserie’s egg tarts apart is the sheer variety of flavors. The menu is ever growing as the bakers draw inspiration from their favorite pastries and restaurant dishes. Their guava egg tart is modeled after the guava-and-cheese strudel at Porto’s, the legendary Los Angeles–based Cuban bakery. The corn cheese flavor was inspired by kon-chijeu, their favorite Korean banchan. A few of A&M’s egg tarts, like the honey-garlic flavor, even have savory elements. The bakery also sells cookies, macarons and canelés.\u003c/p>\n\u003cp>A&M’s first large pop-ups were at FoodieLand’s 2023 festival series, which spanned several cities including Sacramento, Berkeley and San Mateo. Now, the bakery’s busiest events of the year are SJMade’s November Holiday Fair and its Winter Wonder Market in December. “The first year, we brought 600 and sold out within three hours,” Pham says of the holiday fair. “Then, the second year we brought 800 and sold out by 2 p.m.” This year, they scaled up to 1,500 egg tarts for each day of the two-day event, which required an entire month of prep time. The most time-consuming component is the multi-layered puff pastry, which takes hours to assemble.\u003c/p>\n\u003cfigure id=\"attachment_13984903\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg\" alt=\"Long line of customers waiting to buy egg tarts. A large banner overhead shows the different flavors available. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A long line of customers waiting to order at one of A&M’s pop-ups. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During my visit to the A&M booth at last month’s SJMade Holiday Fair, I split a six-pack of egg tarts with my fiancée, my cousin and his girlfriend. After each bite, there was an audible “mmm” from each member of the party. We loved the classic egg tart custard’s glassy surface and creamy, light interior. My favorite was the yuzu egg tart, which had an intense acidity to balance the butteriness of the crust and strips of candied yuzu peel to mellow out the experience. A close second was the seasonal pistachio egg tart with chunks of pistachio on top for some crunch. Each person in the group had their own favorite.\u003c/p>\n\u003cp>The bakery’s next step will be to experiment with savory egg tarts that have a quiche-like filling. Pham plans to introduce these to the menu once he figures out a way to bring an oven into their pop-up space, so he can serve them warm. He and Ngo are also constantly improving their existing flavors — the matcha egg tart is being upgraded to matcha mochi, and the s’mores tart will soon incorporate homemade marshmallow. The pop-up’s next seasonal special is a salted egg yolk tart that’s scheduled to release around Lunar New Year.\u003c/p>\n\u003cp>“We have 18 flavors of egg tarts now,” says Pham. “I can say confidently we’re the only ones offering that many flavors.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/a.m.patisserie/\">\u003ci>A&M Pâtisserie\u003c/i>\u003c/a>\u003ci> pops up at events around the Bay. The next pop-up is at the \u003c/i>\u003ca href=\"https://www.sanjosemade.com/pages/winter-wonder-market-2025\">\u003ci>SJ Made Winter Wonder Market\u003c/i>\u003c/a>\u003ci> at South Hall (435 S. Market St., San José) on Dec. 13–14, 11 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bot-chien-san-jose-vietnamese-rice-cake-omelettes-lion-plaza",
"title": "A New San José Food Stall Specializes in Vietnamese Rice Cake Omelettes",
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"content": "\u003cp>Located at the intersection of Tully and King roads, the Lion Plaza shopping center is in many ways San José’s original Little Saigon — a hub for homesick Vietnamese Americans since the mid-’80s, though it’s since been eclipsed by trendier malls like \u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">Grand Century and Vietnam Town\u003c/a>. But in the mornings, the supermarket’s food court still fills up with hungry diners getting their phở or bó nè fix. And since August, there’s been an exciting new addition: Bột Chiên, a stall specializing in its namesake dish — \u003ca href=\"https://www.kqed.org/arts/tag/vietnamese-food\">Vietnamese\u003c/a> omelettes topped with fried rice cakes.\u003c/p>\n\u003cp>Bột chiên isn’t strictly a breakfast dish, but at around 9 o’clock on a recent Sunday morning, the dining hall’s tables filled up with hungry diners feasting on the lacy, golden-brown omelettes heaped with pickled vegetables and, often, stretchy melted cheese.\u003c/p>\n\u003cp>Owner Tu Nguyen hadn’t always planned on getting into the restaurant business. He’d been an auto damage appraiser for State Farm for 15 years when he decided to buy CreAsian Bistro, a Vietnamese fusion spot in Pittsburg, from a friend in 2016. Soon after that, he invested $150,000 to transform a Quiznos into another Vietnamese restaurant called Anh’s Kitchen. But running the two restaurants at the same time turned out to be more intense than he’d bargained for.\u003c/p>\n\u003cfigure id=\"attachment_13983630\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right.jpg\" alt=\"Asian American man and woman pose for a portrait. The man's black T-shirt reads, "I'm the Nicest Asshole You'll Ever Meet."\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tu Nguyen (left) and Lan Vi Tang opened Bột Chiên in August of 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a restaurant with 73 items,” says Nguyen. “I said, ‘What can I do to simplify this?’”\u003c/p>\n\u003cp>Nguyen decided to step away from his restaurants to focus on something simpler and more affordable. He and his wife, Lan Vi Tang, wound up opening the bột chiên stall because that had been Nguyen’s favorite childhood dish. His aunt had sold the rice cake omelettes while she was at a refugee camp in Malaysia in 1980, and he grew up eating her version of the dish, which he insists is better than what you can find at any restaurant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bột chiên is a simple dish, but Nguyen’s attention to the individual elements makes the process quite labor-intensive. While other Bay Area restaurants make bột chiên with packaged rice cakes, Nguyen commits two hours to make his from scratch. “The dough is where the money is,” he says, explaining that the starch in the rice cakes retrogrades rapidly when refrigerated or frozen. They’re noticeably more tender and chewy when freshly made.\u003c/p>\n\u003cfigure id=\"attachment_13983631\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1.jpg\" alt=\"An omelette topped with fried rice cakes and melted mozzarella cheese.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s cheese bột chiên adds stretchy melted mozzarella to the mix. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nguyen’s rice cake recipe begins by hydrating rice flour and reducing the liquid on the stove over low heat while continuously stirring. Once the mixture transforms into a thick paste, it’s poured into a tray and steamed until it sets into a jiggly block. (An electric mixer would jam up as the batter thickened, so Nguyen does everything by hand.) The dough then gets cut into bite-size cubes, which are fried until they’re crispy on the outside yet chewy on the inside.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13981935,arts_13975429,arts_13954983']\u003c/span>A popular street food in Saigon, bột chiên may have been originally inspired by chai tow kway, a stir-fried radish cake and egg dish from the Teochow people, who \u003ca href=\"https://ccs.city/en/anthology-of-chinese-diasporas/migration-of-the-teochew#:~:text=In%20the%20migratory%20movement%20of,served%20as%20a%20business%20port.\">migrated to Vietnam\u003c/a> from China’s Eastern Guangdong province starting in the 18th century. Unlike a French omelette that requires low heat and gentle folding, the eggs for bột chiên are cracked directly into a blistering hot pan around the crispy rice cakes, then scrambled vigorously until the underside of the omelette gets lightly crunchy and golden-brown.\u003c/p>\n\u003cp>Eating the dish is mainly a textural experience. You start by clasping the crispiest rice cake between your chopsticks before anyone else at the table can call dibs. You chisel it out of the omelette like an archaeologist, then pile on some pickled carrots and daikon for brightness and crunch. A dash of the accompanying sweet-and-savory soy sauce concoction is the finishing touch.\u003c/p>\n\u003cp>Nguyen offers three variations of the dish: classic, mozzarella and taro. My favorite is the mozzarella bột chiên, in which the melted cheese binds the scallions, pickled vegetables, egg and rice cakes together into one harmonious bite.\u003c/p>\n\u003cfigure id=\"attachment_13983629\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983629\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio.jpg\" alt=\"Vietnamese-style beef carpaccio — thin slices of rare beef topped with slices of onion and jalapeño.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bột Chiên’s beef carpaccio is a holdover from Nguyen’s previous restaurant, CreaAsian Bistro. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While most of the restaurants in Lion Plaza mainly serve full-sized entrees, Nguyen likes to think of Bột Chiên as an appetizer spot with a small, focused menu. “At first I had 12 items,” says Nguyen. “Now, I’m down to eight.” In addition to the assorted bột chiên, those items include calamari, chicken wings and beef jerky papaya salad. He’s also carried over customer favorites from CreAsian like his Vietnamese beef carpaccio — paper-thin slices of beef briefly marinated in lime juice and topped with roasted peanuts, sliced chiles, mint, basil and fried onions.\u003c/p>\n\u003cp>For Nguyen, the decision to open in the Lion Plaza food court was a personal one. Growing up in San Francisco, he had fond memories of visiting the plaza when it was one of the Bay Area’s very first Vietnamese food hubs. He’s excited to feed the community and has started brainstorming new dishes like garlic noodles and meatball stew with bánh mì.\u003c/p>\n\u003cfigure id=\"attachment_13983632\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront.jpg\" alt='Exterior of a food court kiosk. A yellow banner overhead reads, \"Bột Chiên.\"' width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bột Chiên kiosk is located inside the food court at Lion Plaza, one of San José’s oldest Vietnamese food hubs. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping that in the future people know we’re here,” Nguyen says.\u003c/p>\n\u003cp>So far, he says, people from as far away as Sacramento have made the journey to eat his bột chiên. A hundred-mile drive for an appetizer might seem like a lot, but that’s just the kind of dish it is. When the craving hits, you have to have it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bột Chiên is open Tuesday through Sunday 9 a.m.–5 p.m. inside the food court at Lion Plaza (1818 Tully Rd., San José).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Located at the intersection of Tully and King roads, the Lion Plaza shopping center is in many ways San José’s original Little Saigon — a hub for homesick Vietnamese Americans since the mid-’80s, though it’s since been eclipsed by trendier malls like \u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">Grand Century and Vietnam Town\u003c/a>. But in the mornings, the supermarket’s food court still fills up with hungry diners getting their phở or bó nè fix. And since August, there’s been an exciting new addition: Bột Chiên, a stall specializing in its namesake dish — \u003ca href=\"https://www.kqed.org/arts/tag/vietnamese-food\">Vietnamese\u003c/a> omelettes topped with fried rice cakes.\u003c/p>\n\u003cp>Bột chiên isn’t strictly a breakfast dish, but at around 9 o’clock on a recent Sunday morning, the dining hall’s tables filled up with hungry diners feasting on the lacy, golden-brown omelettes heaped with pickled vegetables and, often, stretchy melted cheese.\u003c/p>\n\u003cp>Owner Tu Nguyen hadn’t always planned on getting into the restaurant business. He’d been an auto damage appraiser for State Farm for 15 years when he decided to buy CreAsian Bistro, a Vietnamese fusion spot in Pittsburg, from a friend in 2016. Soon after that, he invested $150,000 to transform a Quiznos into another Vietnamese restaurant called Anh’s Kitchen. But running the two restaurants at the same time turned out to be more intense than he’d bargained for.\u003c/p>\n\u003cfigure id=\"attachment_13983630\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right.jpg\" alt=\"Asian American man and woman pose for a portrait. The man's black T-shirt reads, "I'm the Nicest Asshole You'll Ever Meet."\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tu-Nguyen-left-and-Lan-Vi-Tang-right-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tu Nguyen (left) and Lan Vi Tang opened Bột Chiên in August of 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a restaurant with 73 items,” says Nguyen. “I said, ‘What can I do to simplify this?’”\u003c/p>\n\u003cp>Nguyen decided to step away from his restaurants to focus on something simpler and more affordable. He and his wife, Lan Vi Tang, wound up opening the bột chiên stall because that had been Nguyen’s favorite childhood dish. His aunt had sold the rice cake omelettes while she was at a refugee camp in Malaysia in 1980, and he grew up eating her version of the dish, which he insists is better than what you can find at any restaurant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bột chiên is a simple dish, but Nguyen’s attention to the individual elements makes the process quite labor-intensive. While other Bay Area restaurants make bột chiên with packaged rice cakes, Nguyen commits two hours to make his from scratch. “The dough is where the money is,” he says, explaining that the starch in the rice cakes retrogrades rapidly when refrigerated or frozen. They’re noticeably more tender and chewy when freshly made.\u003c/p>\n\u003cfigure id=\"attachment_13983631\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1.jpg\" alt=\"An omelette topped with fried rice cakes and melted mozzarella cheese.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Cheese-Bot-Chien-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s cheese bột chiên adds stretchy melted mozzarella to the mix. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nguyen’s rice cake recipe begins by hydrating rice flour and reducing the liquid on the stove over low heat while continuously stirring. Once the mixture transforms into a thick paste, it’s poured into a tray and steamed until it sets into a jiggly block. (An electric mixer would jam up as the batter thickened, so Nguyen does everything by hand.) The dough then gets cut into bite-size cubes, which are fried until they’re crispy on the outside yet chewy on the inside.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>A popular street food in Saigon, bột chiên may have been originally inspired by chai tow kway, a stir-fried radish cake and egg dish from the Teochow people, who \u003ca href=\"https://ccs.city/en/anthology-of-chinese-diasporas/migration-of-the-teochew#:~:text=In%20the%20migratory%20movement%20of,served%20as%20a%20business%20port.\">migrated to Vietnam\u003c/a> from China’s Eastern Guangdong province starting in the 18th century. Unlike a French omelette that requires low heat and gentle folding, the eggs for bột chiên are cracked directly into a blistering hot pan around the crispy rice cakes, then scrambled vigorously until the underside of the omelette gets lightly crunchy and golden-brown.\u003c/p>\n\u003cp>Eating the dish is mainly a textural experience. You start by clasping the crispiest rice cake between your chopsticks before anyone else at the table can call dibs. You chisel it out of the omelette like an archaeologist, then pile on some pickled carrots and daikon for brightness and crunch. A dash of the accompanying sweet-and-savory soy sauce concoction is the finishing touch.\u003c/p>\n\u003cp>Nguyen offers three variations of the dish: classic, mozzarella and taro. My favorite is the mozzarella bột chiên, in which the melted cheese binds the scallions, pickled vegetables, egg and rice cakes together into one harmonious bite.\u003c/p>\n\u003cfigure id=\"attachment_13983629\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983629\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio.jpg\" alt=\"Vietnamese-style beef carpaccio — thin slices of rare beef topped with slices of onion and jalapeño.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beef-Carpaccio-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bột Chiên’s beef carpaccio is a holdover from Nguyen’s previous restaurant, CreaAsian Bistro. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While most of the restaurants in Lion Plaza mainly serve full-sized entrees, Nguyen likes to think of Bột Chiên as an appetizer spot with a small, focused menu. “At first I had 12 items,” says Nguyen. “Now, I’m down to eight.” In addition to the assorted bột chiên, those items include calamari, chicken wings and beef jerky papaya salad. He’s also carried over customer favorites from CreAsian like his Vietnamese beef carpaccio — paper-thin slices of beef briefly marinated in lime juice and topped with roasted peanuts, sliced chiles, mint, basil and fried onions.\u003c/p>\n\u003cp>For Nguyen, the decision to open in the Lion Plaza food court was a personal one. Growing up in San Francisco, he had fond memories of visiting the plaza when it was one of the Bay Area’s very first Vietnamese food hubs. He’s excited to feed the community and has started brainstorming new dishes like garlic noodles and meatball stew with bánh mì.\u003c/p>\n\u003cfigure id=\"attachment_13983632\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront.jpg\" alt='Exterior of a food court kiosk. A yellow banner overhead reads, \"Bột Chiên.\"' width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Bot-Chien-storefront-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bột Chiên kiosk is located inside the food court at Lion Plaza, one of San José’s oldest Vietnamese food hubs. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping that in the future people know we’re here,” Nguyen says.\u003c/p>\n\u003cp>So far, he says, people from as far away as Sacramento have made the journey to eat his bột chiên. A hundred-mile drive for an appetizer might seem like a lot, but that’s just the kind of dish it is. When the craving hits, you have to have it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bột Chiên is open Tuesday through Sunday 9 a.m.–5 p.m. inside the food court at Lion Plaza (1818 Tully Rd., San José).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every October, \u003ca href=\"https://www.fanhs-national.org/filam/filipino-american-history-month-2025\">Filipino American History Month\u003c/a> honors more than a century of Filipino presence in the United States. In the Bay Area, that legacy runs deep: Cities such as San José, Milpitas and Daly City have long served as hubs for the Filipino diaspora. San José alone is home to around 109,000 Filipino residents, making it one of the 10 largest Filipino communities in the country, according to a Pew Research Center analysis of census data.\u003c/p>\n\u003cp>So it makes sense that San José plays host to a slew of cultural events this month — such as \u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">Kababayan Drag Brunch\u003c/a>, which returns for its fourth year on Saturday, Oct. 18 at Strike Brewing Company. First organized in 2021, this drag brunch has become a South Bay fixture during Filipino American History Month, reflecting the area’s vibrant intersection of Filipino and LGBTQ+ culture.\u003c/p>\n\u003cp>Hosted by drag performers Manang and Tori Tia, the all-ages event blends Filipino food, queer artistry and community pride in an afternoon of performance. “Bring your lola (grandma), bring your auntie, and bring your parents who may be supportive of queerness but don’t usually go to nightclubs,” says Manang.\u003c/p>\n\u003cfigure id=\"attachment_13982479\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\" alt=\"five drag queens in colorful outfits stand on a stage under a neon sign that reads 'mama kin'\" width=\"2160\" height=\"2345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-2000x2171.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-768x834.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1415x1536.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1886x2048.jpg 1886w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manang, Kashewpeia, Tala, John Feddellaga and Tori Tia at Kababayan Drag Brunch 2023. \u003ccite>(Courtesy of Manang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show features six performers, including \u003cem>Drag Race Philippines\u003c/em> season three’s John Fedellaga, widely known online as the “Omegle Queen.” DJ Ayumi Please provides the soundtrack, while Filipino bites come courtesy of Gnosh Confections.\u003c/p>\n\u003cp>“This is a great event to bring people together to celebrate being Filipino, to have fun, to see queer joy,” adds Manang. “We hope Filipinos show up like we always do — yelling, cheering, laughing. It’s a big party for our community to celebrate the month and to celebrate queer joy, especially at a time when that is under threat.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Kababayan Drag Brunch takes place Saturday, Oct. 18, from 1 to 4 p.m. at Strike Brewing Company & Warehouse Taproom (2099 S 10th St #30, San Jose). Free; more information \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">\u003ci>here\u003c/i>\u003c/a>\u003ci>\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every October, \u003ca href=\"https://www.fanhs-national.org/filam/filipino-american-history-month-2025\">Filipino American History Month\u003c/a> honors more than a century of Filipino presence in the United States. In the Bay Area, that legacy runs deep: Cities such as San José, Milpitas and Daly City have long served as hubs for the Filipino diaspora. San José alone is home to around 109,000 Filipino residents, making it one of the 10 largest Filipino communities in the country, according to a Pew Research Center analysis of census data.\u003c/p>\n\u003cp>So it makes sense that San José plays host to a slew of cultural events this month — such as \u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">Kababayan Drag Brunch\u003c/a>, which returns for its fourth year on Saturday, Oct. 18 at Strike Brewing Company. First organized in 2021, this drag brunch has become a South Bay fixture during Filipino American History Month, reflecting the area’s vibrant intersection of Filipino and LGBTQ+ culture.\u003c/p>\n\u003cp>Hosted by drag performers Manang and Tori Tia, the all-ages event blends Filipino food, queer artistry and community pride in an afternoon of performance. “Bring your lola (grandma), bring your auntie, and bring your parents who may be supportive of queerness but don’t usually go to nightclubs,” says Manang.\u003c/p>\n\u003cfigure id=\"attachment_13982479\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\" alt=\"five drag queens in colorful outfits stand on a stage under a neon sign that reads 'mama kin'\" width=\"2160\" height=\"2345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-2000x2171.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-768x834.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1415x1536.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1886x2048.jpg 1886w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manang, Kashewpeia, Tala, John Feddellaga and Tori Tia at Kababayan Drag Brunch 2023. \u003ccite>(Courtesy of Manang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show features six performers, including \u003cem>Drag Race Philippines\u003c/em> season three’s John Fedellaga, widely known online as the “Omegle Queen.” DJ Ayumi Please provides the soundtrack, while Filipino bites come courtesy of Gnosh Confections.\u003c/p>\n\u003cp>“This is a great event to bring people together to celebrate being Filipino, to have fun, to see queer joy,” adds Manang. “We hope Filipinos show up like we always do — yelling, cheering, laughing. It’s a big party for our community to celebrate the month and to celebrate queer joy, especially at a time when that is under threat.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Kababayan Drag Brunch takes place Saturday, Oct. 18, from 1 to 4 p.m. at Strike Brewing Company & Warehouse Taproom (2099 S 10th St #30, San Jose). Free; more information \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">\u003ci>here\u003c/i>\u003c/a>\u003ci>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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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"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
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"source": "Possible"
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"link": "/radio/program/possible",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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