The Kimbell’s Asian art collection is not deep but still really impressive.
BY ANTHONY MARIANI
From watching parties for only Team Japan, Rex’s now welcomes all 48 World Cup squads. BY
RUSH OLSON
Why not make FilipinoAmerican Star Jason Robertson the face of the laughably nondiverse NHL? BY
PATRICK HIGGINS
A lot can (and did) change in a decade at the Japanese Garden. BY
ELAINE WILDER
FRIDAY, MAY 8, 6-9:00
Day breakfast in bed, made easy. Pre-heat the oven, brew the coffee, pour the bubbles, add some fresh cut fruit, and bake your way to Challah French Toast Casserole, Migas Breakfast Casserole, and Lemon Ricotta Pancake Casserole
May 6-12, 2026
Editor-in-Chief: Anthony Mariani
Art Director: Ryan Burger
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Film Editor: Kristian Lin
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Editorial Board: Anthony Mariani, Emmy Smith, Steve Steward, Elaine Wilder
Contributors: E.R. Bills, Jennifer Bovee, Jason Brimmer, Amber Chadwick, Jess Delarosa, Buck D. Elliott, Danny Gallagher, Ozzie Garza, Juan R. Govea, Mark Henricks, Patrick Higgins, Laurie James, Kristian Lin, Cody Neatherly, Rush Olson, Jeff Prince, Emmy Smith, Kena Sosa, Steve Steward, Jennifer Zooki Sturges, Teri Webster, Ken Wheatcroft-Pardue, Elaine Wilder, Cole Williams
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Kristian Lin
In celebration of the popular Asian grocery chain’s new Haltom City digs.
t Rush x Eats The World Cup comes to Rex’s
Taiko drumming reaches great heights via the local quartet Goisagi.
Director of Marketing: Jennifer Bovee
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With about 700,000 Asian Americans and Pacific Islanders now, North Texas is home to the fastest-growing AAPI population in the United States. Many are coming here because the established communities are welcoming. It’s also because of the growing number of tech jobs in the region. Whatever the reason, we’re glad for the increased diversity.
The largest contingent is Indian (38%), followed by Vietnamese (16%) and Chinese (11%), along with a big Nepalese population. Between 2022 and 2023, DFW added more than 44,000 AAPI residents, marking the country’s highest numerical growth.
Tarrant County, Arlington in particular, is one of the top counties in Texas for the AAPI community, and it’s about time we celebrate our AAPI friends and family with a special issue. Between these pages, you will find a wealth of AAPIfocused goodness. On pg. 6, we explore some of the recent changes to the Fort Worth Botanic Garden with a particular focus on the Japanese Garden, while on pg. 22, we profile one of the Dallas Stars’ and the NHL’s best players, Filipino American Jason Robertson; on pg. 14, we get psyched for the new H Mart coming to Haltom City; and on pg. 9, we take a closer look at all the amazing Asian art at the Kimbell Art Museum. All this and so much more. O-tanoshimi kudasai ! — Anthony Mariani, Editor
lot can (and did) change in a decade, including the preservation of the
BY ELAINE WILDER
Nearly a decade has passed since the Fort Worth Botanic Garden began undergoing some substantial changes (“Botanic Garden Growing?” Aug 17, 2016). The biggest shift has been admission.
Except for a fee to the Japanese Garden, general admission had been free. Now for nonmembers, it’s $14 for adults, $8 for children (3-5), and free for those 2 and under. However, there are a few free-admission days throughout the year, including Juneteenth (Fri, Jun 19), the Celebramos Kick-Off (Sat, Sep 19), Veterans Day (Wed, Nov 11), and Earth Day (Fri, Apr 23, 2027).
Did charging a fee reduce accessibility like we thought it would? Possibly. But it also provided some of the funding for the
much-needed repairs and improvements that began in the 2020s, without which, instead of saying, “Can I afford to?,” we might be asking, “Why go at all?”
The Japanese Garden has quietly benefited from all the broader improvements. Work there is aimed less at reinventing the space and more at preserving the character of a landscape that has been a centerpiece of the Botanic Garden since debuting in 1973. When you do visit this true Japanese strolling space, you’ll notice the love and attention paid to the bamboo plants; the cherry, magnolia, and maple trees; and the 1,200-plus koi fish throughout the Japanese Garden’s 7.5 acres. In partnership with the Fort Worth Japanese Society, there is also a biannual Japanese Festival in April and November with hands-on experiences, cultural demonstrations, tea ceremonies, and live performances, including taiko drumming by the band Goisagi (see: “Fat Drum,” pg. 21).
The transition of the garden’s management from the city to the Botanical Research Institute of Texas (BRIT) in October 2020 prompted a rethinking of the master plan. In anticipation of public funding for long-standing deferred maintenance and the capital replacement of aging facilities throughout the garden, FWBG initiated a coordinated planning strategy for current and future structures across the campus. The garden is also now closely integrated with BRIT. Together, they provide programming that includes conservation efforts, education, and scientific research to a broader audience.
Improvements have taken longer than expected, but they are well underway. Some things got worse before they got better, but I think we’ve all experienced that with our own homes at some point. For example, the Rainforest Conservatory’s repairs raised safety concerns (falling glass and such), so it was shuttered until 2019, when the major repairs were completed.
One huge project, the new “family garden” discussed all those years ago, is now becoming a reality. With a little more than $17 million of the $19 million goal, construction of the Baker Martin Family Garden, an interactive, kid-focused green space, has now begun.
The Japanese Garden has quietly benefited from all the broader improvements.
Along with the family garden, other projects online thanks to public funds include improvements to the Moncrief Garden Center, the Rose Garden, and Tinsley Rock Springs Woods, while the area in the Southwest Quadrant that includes the Backyard Vegetable Garden, Compost Outpost, and the Horseshoe and Trial Gordon Gardens has been deliberately left as unprogrammed space at the moment. FWBG no longer has the light calendar of events it once had. From the popular Butterflies in the Garden event to LEGO and dinosaur installations, holiday light strolls in the winter, and the Japanese Festival every spring and fall, there is much to see and do. In fact, Blooms & Beats with live music by Tom Sless is 6:30pm Fri, May 8 ($15). Plus, there are now art classes, docent-led tours, forest bathing, and homeschool-day events on the books.
Weekly publisher Lee Newquist and contributor Juan R. Govea recently visited the Japanese Garden, and their photos inspired the art for this special issue. Along with Weekly Art Director Ryan Burger’s interpretation of one of Govea’s pics for the cover, I created the collage for this spread. O-tanoshimi kudasai (essentially “enjoy”). l
There I sat at a full table at a busy restaurant, where no one was speaking a language I knew. There was a turntable of foreign foods in the center, each more daunting than the last. My legs were shaking. I was getting the parent test. I’d met his parents before, but I hadn’t been tested. See, my partner is a first-generation Asian American. His parents are Taiwanese and Cantonese and came to the United States via Canada. And this was my authentic-Asian food challenge
My relationship is beautiful. Growing out of a mutual love for locals, it has blossomed into a lifetime love that’s silly but sincere, full of adventure and appreciation for each other’s strengths and weaknesses.
At times, we could not be more the same. At others, we could not be more different
As I looked at the chicken feet on the table, I made a reference to his father about my mother eating Southern foods, which included critters, but we both realized that was far removed from any experience I had known.
An experience I do know is that knowledge is power, so I have challenged myself to lean into the moments when we seem completely at odds and ask simply: Why? See, the cultures our parents instilled
in us couldn’t be any more different. Ultimately, we are products of our environments.
His mother was from Taiwan. She stayed at home and was adamant about him participating in extracurricular activities and finishing homework. Violin, piano, Asian school. Church. One might dare say Carson was raised by a Tiger Mom. Structure and traditional Asian values were taught and expected. They were living one flavor of the American dream.
My family is a different flavor. My parents had gone from lower to middle class. My mother was a school teacher, and while education was important, it was always fun. Today, I try to instill that in my daughter through reading and even wholesome TV like Daniel Tiger’s Neighborhood, which is based off the Mister Rogers’ Neighborhood of my childhood.
And now we are creating a modern-day version of the American dream. A truly blended family. My daughter Latina, myself a Texan, and my partner Asian. In this space, I try to find a harmonious balance between the two childhoods we both experienced into what I like to call “Daniel Tiger Mom.” — Jennifer Zooki Sturges
Jennifer Zooki Sturges is a feminist activist and musician producing festivals and playing shows across North Texas.
This column reflects the opinions and fact-gathering of the author(s) and only the author(s) and not the Fort Worth Weekly. To submit a column, please email Editor Anthony Mariani at Anthony@FWWeekly.com. He will gently edit it for clarity and concision.
FEATURED PANEL:
Join us as we celebrate local Tarrant County women who have blazed their own paths through resilience, determination and leadership. Panel moderated by Jordan Stimpson of Linebarger Goggan Blair & Sampson, LLP
It’s not the biggest or deepest, but the Fort Worth museum’s collection is among the most striking.
BY ANTHONY MARIANI
Fort Worth is home to one of the most impressive collections of Asian art in the country. The Kimbell Art Museum’s holdings are not large or comprehensive, just otherworldly and stunning. Many of the pieces are emblematic or typical of a critical time period or style, making them “jewels.”
In the North Gallery of the Piano Pavilion, the Kimbell’s Asian collection encompasses sculptures, paintings, bronzes, ceramics, and decorative art from China, Korea, Japan, India, Nepal, Tibet, Cambodia, and Thailand. Among the dozens of works spanning two millennia are several masterpieces. Chinese, Indian, and Southeast Asian pieces come in the forms of rare sculptures, ceramics, and textiles, some from the lauded Third Collection of Mr. and Mrs. John D. Rockefeller at Asia Society.
The pieces do not exist without context. Through display and scholarship, the Kimbell does a great job of highlighting the role that trade played between the far reaches of Asia and the rest of the world.
Traveling Asian art also has a home at the Kimbell, whose touring exhibits include From the Lands of Asia and Buddha, Shiva, Lotus, Dragon
Collecting rare “jewels” instead of going for breadth was established by the museum in 1966 under original director Richard F. “Ric” Brown: “The dominating principle involved in the acquisition
One of the Kimbell’s definitive “jewels” is “FourArmed Ganesha” from the 5th-6th century A.D. The elephant-headed son of the goddess Parvati and Shiva (one of Hindu’s three most important deities), Ganesha is worshipped for removing obstacles and bestowing upon his followers good fortune, prosperity, and health. The myth is that Parvati employed Ganesha in human form to protect her chambers, but when the baby tried to keep Shiva out, the father cut off the child’s head. To comfort an upset Parvati, Shiva replaced the baby’s lopped noggin with the nearest living thing: the head of an elephant. The Kimbell’s terracotta relief is wonderful but slightly damaged. Traditionally, Ganesha would also bear an axe, rosary, and bowl of sweetmeats. In Hinduism, multiple arms represent deities’ farranging, manifold powers, and most brick Hindu temples were decorated with these kinds of plaques. The age and rareness make “FourArmed Ganesha” an unmistakable gem.
process is that the stature of the Museum depends more upon the quality of the definitive objects that it contains than on the historical completeness of its collections. A prospective addition to the collections, therefore, is to be judged from the standpoint of aesthetic quality and typicality and whether it defines a master, period, school, style, or area. The goal shall be definitive excellence, not size of collection.” l
A simple jar, yes, but this Chinese ceramic from circa 2,500 B.C. has some contemporary appeal. It’s there in the checkerboards, crosshatching, concentric bands, and an overall abstract vibe that keeps this kind of pottery so intriguing. This hand-painted piece was probably used to hold food or liquids buried with the dead in Neolithic times. To reiterate: It’s really flippin’ old, and simply admiring it in person might inspire you to stay strong and durable in these trying times.
A decorative hanging scroll from circa 1800, Rekisentei Eiri’s “Beauty in a White Kimono” depicts a seductive courtesan — look at how she glances over her shoulder with her hair slightly askew — in the all-white costume worn only in Edo (Tokyo) on hassaku, the first day of the eighth lunar month, a.k.a. the “eighthmonth snow.” Her youth and high rank as a courtesan are indicated by the red sash tied in front in a gold diaper pattern, or sayagata. Among the fashion-conscious ladies of the pleasure quarters, paintings of courtesans often focused on the latest styles of dress.
From May 7 to 17, the PBR World Finals 2026 will bring festivities and an epic World Title Race to Fort Worth
Promotional Feature
Professional Bull Riders (PBR) World Finals is bull riding’s crown jewel: the best athletes on the baddest bulls making the biggest money. Following a grueling regular season, PBR World Finals welcomes the tour’s most dedicated and proven bull riders to the Lone Star State for eight epic days of man-vs-beast showdowns with one shared goal: being named a PBR World Champion.
With PBR offering a historic, tour-record $3.3 million purse in earnings, the sport’s crown jewel serves as the richest season-ending event in the organization’s history, featuring a $1 million bonus for the World Champion and $500,000 payout to the event winner.
The world’s top-ranked bull riders and bovine athletes are set to invade North Texas as Fort Worth hosts the PBR World Finals 2026: Unleash
The Beast. This two-week celebration of Western sports runs from May 7 to May 17, featuring two separate four-day weekends of competition.
The action will begin at the historic Cowtown Coliseum (121 E Exchange Av, Fort Worth, 817-625-1025), with the first four nights of
action taking place Thu, May 7 to Sun, May 10 in the heart of the Fort Worth Stockyards.
When the second weekend of electricity rolls around, riders, bulls, and fans alike will shift gears to Dickies Arena (1911 Montgomery St, Fort Worth, 817-402-9000) from Thu, May 14 to Sun, May 17, where the 2026 PBR World Champion will be crowned.
This season’s gold buckle race approaches North Texas as one of the most ferocious battles in PBR history, with 15 different riders set to enter Cowtown Coliseum within 585 UTB points of tour leader No. 1 John Crimber, who, alongside No. 2 Brady Fielder, paced the pack with a tour-high 28 qualified rides this season. Fielder trails Crimber
by 169.5 points. During an insanely competitive season in which 11 different riders earned an event title throughout the regular season landscape, 40 of the 45 qualifiers have a mathematical chance of winning the world title.
Fans can also enjoy non-stop programming, including the Ariat 3K/5K Boot Trot, Bill Pickett Rodeo activations, Cowboy Church, the Mini Bulls, the PBR World Finals Charity Golf Tournament, and UBF Midnight Bullfights, plus live music and entertainment, drone shows, and more. For a complete schedule of programming, visit PBRWorldFinals.com/schedule.
Limited tickets remain available for the 2026 PBR World Finals: Unleash The Beast. In partnership with the Fort Worth Weekly, readers can use code “FWWEEKLY” to save up to 25% on select tickets at PBRWorldFinals.com, AXS.com, Ticketmaster.com, or by phone at 800-732-1727.
BY KRISTIAN LIN
May is Asian American and Pacific Islander Heritage Month, so instead of devoting this issue to Cinco de Mayo, we’re looking at the history of films made by and about these communities.
Since the Pacific Island communities have often been treated as an afterthought in this celebration, let’s start with them. The United States overthrew the Hawaiian kingdom in 1893, before filmmaking was even a thing, and mainlanders’ fascination with the islands’ colorful wildlife and tropical weather resulted in a surge of interest among moviegoers in the 1930s. This was not always for the good, as the native culture was portrayed only in the broadest terms in movies like Waikiki Wedding and Honolulu. This attitude would continue through later decades in Blue Hawaii and the film version of South Pacific, which cast Black and Asian actors as natives. More recently, attitudes have shifted thanks to stars such as Dwayne Johnson and Jason Momoa, as well as Disney’s animated and live-action takes on Lilo & Stitch and Moana.
Pacific Island culture has also been addressed from the other end, as New Zealand films filled the gap where more remote islands lacked the resources or technological know-how to make films about their own cultures. The late Lee Tamahori’s
Once Were Warriors tackled substance abuse and domestic violence among the Māori people of New Zealand, which made that 1994 film far more interesting than his Hollywood action-thrillers of later years. On a lighter note, Niki Caro injected notes of Māori folklore into her 2002 film Whale Rider, while Taika Waititi won a global following with comedies such as What We Do in the Shadows and Hunt for the Wilderpeople, even bringing his native tribe’s signifiers into Thor: Ragnarok by introducing the character of Valkyrie wearing traditional tā moko (facial tattoos).
You may be surprised to find that not only Asian-American actors but stars date back to the silent-film era. The beautiful Sessue Hayakawa made a decent living as a dangerous but alluring Japanese villain before the outbreak of World War II gave his career additional momentum with the need for actors to play enemy military officers. Similarly, Anna May Wong played stereotypical roles onscreen at the same time that she became a fashion icon, embracing the flapper look popular
in the 1920s. The 1930s were the heyday of the Fu Manchu films, with various (white) actors portraying the evil criminal mastermind, and also the peak of the Charlie Chan movies, in which Swede Warner Oland, then American Sidney Toler portrayed the detective who spouts fortune-cookie wisdom while solving murder mysteries.
More layered Asian characters came in during the latter decades of the 20th century, when some native-born Asian filmmakers such as Ang Lee, Mira Nair, and Chloé Zhao trained in America and subsequently made films in this country. Hong Kong’s Wayne Wang offered a shaggy comic update on Charlie Chan with his 1982 black-and-white mystery Chan Is Missing. A decade later, he found an even broader audience with his panoramic portrait of Chinese-Americans in Northern California with his adaptation of Amy Tan’s The Joy Luck Club. The success of these paved the way for more contemporary takes on immigrant stories like Crazy Rich Asians and the Oscar-winning Everything Everywhere All at Once
But then, immigration isn’t the only subject for Asian-American filmmakers. Gregg Araki’s Teenage Apocalypse trilogy of the 1990s explored sexual fluidity among disaffected young people; James Wan helped inaugurate the torture-porn horror wave of the early 2000s with Saw; and M. Night Shyamalan’s horror exercises took him from box-office darling to critically reviled and back. On the other hand, Jon M. Chu has become one of Hollywood’s premier musical directors on the strength of In the Heights and the two Wicked films, and part-Japanese Destin Daniel Cretton transitioned easily from the low-budget drama of Short Term 12 to the Marvel superhero adventure Shang-Chi and the Legend of the 10 Rings Asian-American artists have been all over animated movies for kids, too, from Jennifer Yuh Nelson in the Kung Fu Panda films to Domee Shi in Turning Red to Maggie Kang in KPop Demon Hunters. The diversity of these films has made our multiplexes better places to be. Anna May Wong would have been pleased. l
Thu-Sun, May 8-10
BY ELAINE WILDER AND DANNY GALLAGHER
From permanent art collections to cinematic masterpieces (or should we say “monsterpieces”?), there are many Asian-inspired things to see and do in May and beyond. Welcome to Asian American & Pacific Islander (AAPI) Heritage Month!
When you have the time, visit the Fort Worth Botanic Garden (3220 Botanic Garden Blvd, Fort Worth, 817-463-4160, open daily), home to the renowned Japanese Garden, or the Kimbell Art Museum (3333 Camp Bowie Blvd, Fort Worth, 817-332-8451, open Tue-Sun), whose permanent collection contains a wealth of amazing Asian art. Read more about both in this week’s Metropolis and Art sections. As the Japanese Garden follows the Japanese practice of Mono no aware , few flowers bloom in this garden outside of spring, so now is a great time to go. Plus, it’s about to be real Texas-y outside. As for the Kimbell, enjoy that cool AC in the great indoors! For more information, including ticket prices and docent tour bookings, go to FWBG.org/gardens/japanese-garden or KimbellArt.org.
Asia Times Square, one of the largest Asian markets in Texas, located in Grand Prairie at the border of Arlington (2625 W Pioneer Pkwy, 972-975-5100), is celebrating AAPI Heritage Month via Asian Heritage Fest this weekend. Connect with, learn about, and experience Asian cultures through food and drinks, entertainment, stories, and traditions, plus live music from artists like Vietnamese-American pop stylist PromQueen. This outdoor, family-friendly three-day event is free to attend. On Saturday, there is also a 5K fun run called Race to Replace Hate, a “run for love, community, and compassion!” For details, visit LinkTree. com/asiatimessquare.
Mon, May 11 & Fri, May 29
Your Texas Rangers are holding their third annual Asian Heritage Night presented by Asia Times Square at Globe Life Field (734 Stadium Dr, Arlington, 972-RANGERS). It starts at 7:05pm, when the Rangers play the Kansas City Royals. Theme tickets purchased will include a Year of the Horse limited-edition jersey. Get there early. Sizes are limited. There is also a Japan Heritage Night on Mon, May 11, at 7:05pm when the Rangers take on the Arizona Diamondbacks. The promotional item that night is a special ballcap. For tickets and jersey info, visit Rangers.com/heritagenights.
It’s not just the inaugural AAPI issue. We’re also trying something new in Calendar to cover film in North Texas. Fort Worth doesn’t just show movies. It shows up in them. From local shoots and films made in (and about) Texas to screenings at Alamo, Coyote Drive-In, Texas Theater, and all our other favorite spots, if it’s got roots here, it’s … Worth your time. This new column will take a closer look at films made in, set in, or shaped by the people and places of North Texas and let you know where to see them in Fort Worth or in our cinematic sister cities. Welcome to Reel Worth. continued on page 13
continued from page 12
For our first go-round, Weekly contributor Danny Gallagher is reviewing the next film in the TohoScope series at Alamo Drafthouse , featuring films from the legendary Yoshimitsu Banno of Toho Studios, the Japanese company that helped define monster movies as we know them today. Each Toho screening features a custom menu packed with themed entrees and cocktails, from Blue Fire and Godzilla Punch to Monster Fries and the all-powerful Boneless King Wings . And now, I’ve told you all that I know. Danny will take it from here. — Elaine Wilder
Reel Worth: Godzilla vs. Hedorah
You can’t call yourself a Godzilla fan if you haven’t seen this iconic tale of two towering monsters. If you’re trying to point a future Godzilla fan toward the franchise, there are several you can recommend. If you want to be boring and unoriginal, you could recommend the original 1954 release by Ishiro Honda. If you want your friend to truly understand the beauty and purpose of the Godzilla films, then Godzilla vs. Hedorah should be first on your recommendation list.
The 11th film in the iconic Godzilla franchise will be part of the Alamo Drafthouse’s upcoming TohoScope series, featuring some of the best and rarest films in Toho Studios’ storied kaiju movie franchise.
The name “Hedorah” may not be as synonymous or recognizable as Godzilla villains like Mothra or Rodan, but it should be recognized by all fans of the genre for the way the film plays with the Godzilla formula like no other title in the series. In fact, some of the iconic staples of Godzilla films and the giant-monster
movie genre come from this classic 1971 entry in the series.
This time, Tokyo’s favorite city-crushing monster has to contend with the very forces of nature in the form of a giant mutant tadpole. The American title of the film refers to Hedorah as “The Smog Monster” because it’s born of polluted waterways created by humans. Once again, man muddles in forces it cannot possibly control, and society pays a deep price for its mistake.
Godzilla vs. Hedorah is more than just an excuse to watch two actors in ridiculous rubber suits pound the snot out of each other. Just as the original Godzilla is a cautionary satire about the proliferation of nuclear weapons, the sulfur-spitting Hedorah is a warning about the dangers of unchecked and untreated pollution.
Still, the movie doesn’t waste time getting to the showdown that the title promised you on the poster. You get the kind of no-holds-barred battle royale between the titular monsters from the start. Hedorah isn’t a Jaws-like creature that the audience doesn’t see until the final third of the movie. He’s propped up as the flick’s main threat in the first five minutes, even if all you can see of him at first are his glowing red eyes peering out of the surface of the water.
The action is interspersed with beautiful animations that hint at Hedorah’s existence and a soundtrack of late ’60s-inspired rock that furthers the film’s cautionary narrative.
Just like the original Godzilla , it’s more than just a monster movie. It’s not just about watching two beasts fighting in the cities that birthed them. It’s a deep allegory about something far more destructive to the Earth and its inhabitants than a giant monster.
Godzilla vs. Hedorah screens at noon at Alamo Los Colinas (320 W Las Colinas Blvd, 214-252-7550) and at 4pm at Alamo Denton (3220 Town Center Tr, 940-4414233). Tickets are $10.49 at Drafthouse.com.
— Danny Gallagher
The popular Asian grocery-store chain comes to town, and it’s time to eat.
BY KENA SOSA AND ELAINE WILDER
Known for high-quality, authentic Korean and other Asian fare, the H Mart chain of grocery stores has offered Asian Americans a sense of home and a source for often hard-to-find specialty ingredients since 1982. Thanks to the popularity of K-pop and the overall elevation of Asian culture, the rest of us have caught up with the hype.
With more than 100 locations across the United States, H Mart is the largest Asian supermarket chain in the country, but only seven of them are in Texas, including Austin, Dallas, and Houston. None are here. Yet.
If you’re a fan of H Mart, you already know: Haltom City is getting one soon.
With its array of specialty foods not found in traditional supermarkets, plus food halls where you can try some of everything, the grocery store itself is a destination. That would be enough, but it’s so much more. When an H Mart comes to town, they build a whole shopping center, and the store is surrounded by bars, restaurants, and retail all in the same vein: Asian awesomeness.
In her 2021 debut memoir Crying in H Mart, Michelle Zauner explores the bond between her and her mom, along with generational gaps, international relationships, and the tension between self-respect and parental expectations. As Zauner developed her music career from Little Big League in 2011 to the better-known indie band Japanese Breakfast in 2013, she had only a year to enjoy her life as a financially struggling yet emotionally fulfilled musician before receiving a call on the road that crushed her. In 2014, Zauner’s mother was diagnosed with advanced pancreatic cancer. The musician dropped her plans and moved back home to Eugene, Oregon, to care for her Umma, with whom she had a loving but complicated relationship. Zauner left her emerging music career and her boyfriend Peter on the East Coast. Knowing her father could not endure this uncertainty on his own and wanting to be the one fully present for her mother, Zauner embarked upon a journey that changed and scarred her.
Zauner watches the disintegration of her mother, who was once fixated on beauty and image, leading the daughter to ponder what these images mean and why looking good was important. Wanting to fix, to impress, to heal, Zauner involves herself in every aspect of her mother’s care, using the meticulously collected data of life moments to interpret her own memories of how Umma was raised. After months of setbacks and pain, her mother asks to go to Korea together.
Fulfilling her mother’s wish gives Zauner hope, but it is not a fix for the inevitable. With food, traditions, and rules about food bonding the duo and breaking them apart, Zauner cries every time she enters H Mart after her mom dies.
Zauner gives authentic compliments and criticism to everyone in her life, including herself, revisiting her own behavior as she pushed back against her mother’s rule, attempted to regain her affection, and how it felt to disappoint her in pursuit of her own sense of self. Returning to Korea later, Zauner is able to rebuild relationships with her distant family and learn new, fun tidbits about her mother, including that Umma and Zauner’s aunt Nami sang as the Pearl Sisters and released a 1968 surf-rock earworm called “Coffee Hanjan.” In 2021,
Zauner and Japanese Breakfast covered the song on the Japanese edition of the band’s Jubilee album.
Zauner is masterfully abundant in description, from dissecting her mother’s demonstrations of love to the gaps in their relationship and even her sickness as Zauner clings to what she dismissed before of her Korean heritage. As deft as a poet, she lays out all the medical treatments and woe, as well as moments of victory, like when she learns to cook the Korean recipes her mother once made for her. Zauner exposes the complete helplessness of caregiving, sharing cringeworthy details that may be better off private but that make reading them feel real.
The recipes and ingredients, textures and flavors, as well as the memories and images they conjure, are ample and filling. Through this memoir, readers share Zauner’s grief and perhaps a new fever for food, with ingredients measured only by instinct. Food is love, yes, but it is also life, and the moments we build around it are the true definition of soulful nutrition.
—
Kena Sosa
Kool Nails is open seven days — except that they were closed on Easter Sunday. On a recent trip there for my mani/pedi, my nail tech Simon told me the whole family (of said family-owned business) traveled to Carrollton that day to visit H Mart on their much-deserved day off.
“They are opening one here!” we said to each other in near unison.
While dipping my nails in some Just Peachycolored powder, my new best friend chatted with me about great Vietnamese food, how excited we all are for the upcoming H Mart opening, and the special issue you’re holding in your hands right now. While he had not heard of Crying in H Mart, he laughed at the title and promised to read this article when it hit the stands, although I’m not sure he knew he would be in it.
By two weeks later — because that’s how nails work — I came to my next appointment armed with a list of businesses that may (or may not) be coming to the new H Mart. (It’s the internet, so what’s not to trust, right?) After he picked out my new Minty nail color, he picked some food recommendations from my speculative list. A man after my own heart, three of the five are bakeries or dessert spots.
Along with Carrollton, Mesquite, and Richardson, 85°C Bakery Cafe already has a continued on page 15
Tarrant County location in Grand Prairie at Asia Times Square (2625 W Pioneer Pkwy, 972-9755071). They are best known for their marble taro bread, made with the starchy, tropical root vegetable of the same name. Native to Southeast Asia, it’s widely used in savory dishes, desserts, and bubble tea and lends a lavender color to whatever it’s in. At 85°C, it’s also in a tasty-looking blended frozen treat. Other top-selling drinks include the signature sea-salt coffee and black sesame latte. Popular savory options include the pork sung bun and garlic cheese bread.
Hui Lau Shan, specializing in mango desserts like their famous mango chewy balls — or as Simon put it, “Mmm, mango!” — opens Thursday at noon (yes, as in May 7) in the new H Mart Plaza in Haltom City at 3980 NE Loop 820 (682-2243128). The first 20 people will receive a complimentary shopping tote.
We’re also supposedly getting another Tous les Jours. This French-Korean bakery already has a Tarrant County location in Colleyville (5611 Colleyville Blvd, Suite 120, 682-325-4083). Must-try items include the light and airy “cloud” cakes and donuts, plus savory items like kimchi croquettes and curry puffs.
Simon also perked up at the mention of the possibility of two Fort Worth staples, Hanabi Ramen & Izakaya (3204 Camp Bowie Blvd, 817-420-6703) and Sushi Axiom (four area locations), opening at H Mart in Haltom City. For official updates on the incoming businesses, keep an eye on the Haltom City Civic Alerts page at HaltomCityTX.com/m/newsflash/. More to
follow in the coming weeks or months, as it may be the fall before the shopping center’s official grand opening. — Elaine Wilder
As I get my nails done every two weeks, look for more #SimonSays recommendations in future Ate Days columns. In the meantime, I also have a movie suggestion for you. Have you ever wondered why most nail salons are Vietnamese-owned? The answer is Tippi Hedren.
Yes, the old-timey star of Hitchcock’s The Birds and her manicurist started the cultural juggernaut of the Vietnamese people doing nails. As the story goes, in 1975 she visited a group of
Vietnamese refugee women at California’s Hope Village. They were part of the first wave of immigrants from Vietnam allowed to come to the states as their husbands had helped the U.S. military. The women were in desperate need of work to support themselves in their new country.
During her visit, the women were fascinated by Tippi’s nails, so Hedren decided to fly in her personal manicurist, Dusty Coates, to teach them how to do manicures. These 20 newly licensed nail techs laid the foundation for Vietnamese-American dominance in the nail industry.
Hedren maintained close ties with many of the original women she helped, and her work is highlighted in the PBS documentary Nailed It (streaming on TUBI).
ABC News says the industry remains a major path to success for immigrants today, and many nail technicians in the states are children or grandchildren of those original women. Recent changes to the rules governing professional licenses and the immigration documentation required to obtain them in Texas could profoundly impact this community (“Texas Professional Licenses,” Texas Tribune, Mar 24, 2026). — Elaine Wilder l
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Rex’s started out as a Team Japan watching spot but has expanded to encompass all 48 FIFA World Cup squads.
BY RUSH OLSON
Japan’s men’s national soccer team ranks 18th in the world. That rating and their track record indicate they stand a good chance of emerging from their group (F) at the FIFA World Cup 2026 but not impacting the later rounds. However, the Samurai Blue may have had a substantial effect on one Fort Worth restaurant’s efforts to entice fans to watch the entire tournament on one or more of the eatery’s 50-plus televisions.
A big part of the business model at the TCU area’s Rex’s Bar & Grill involves servicing diners and drinkers as they share a communal sports-viewing experience via those TVs. A huge summer soccer tourney taking place after the NBA and NHL playoffs but before pro and college football begin could drive business. Doing promotional activations with the TCU soccer program helped get Rex’s thinking about the sport and, eventually, the first Asian team to qualify for the 2026 World Cup — Japan.
There’s a connection. The family of Rex’s owner, Rex Benson, also owns the Fort Worth restaurant Japanese Palace (along with Ol’ South Pancake House, which shares a parking lot with Rex’s). They’ve developed further ties to the area’s Japanese community via the Fort Worth Japanese Society and through their marketing agency rep, the Time Group’s Margaret Mckoin, who works with the Japan-America Society of Dallas/Fort Worth. During the buildup to the latter society’s gala, the concept of a gathering spot for the Japanese team’s games arose.
“They wanted to book a watch party for when Japan played,” Benson recalled, “and they wanted to have it Texas-style, where they would have a Texas-style buffet.”
The idea sparked a vision for a broader business opportunity.
“We were going to have three official watch parties for the country of Japan,” Benson said. “We started to look at it and go, ‘Well, why would we not do a watch party for every nation that’s involved in the World Cup? Why would we not get Argentina? Why would we not get South Korea?’ ”
Benson and his staff decided they would try to make every World Cup game a special occasion at Rex’s.
continued on page 19
“We’ve created 104 watch parties,” he said, “so we’re doing a specific watch party for each and every country for every single game.”
Benson and company hope to welcome local fans of the beautiful game but also a broader spectrum of visitors and expatriates. Rex’s marketing materials reflect their desired reach, with details in English and the native language of the targeted countries’ supporters. They hope to make fans feel welcome no matter what jersey they wear while supplying some Lone Star hospitality.
Viewers can watch the games for free or take advantage of the $59 all-you-can-eat buffet
for which you must register at least 24 hours in advance of the game via RexsFTW.com. It includes food plus two beer or wine beverages. Rex’s recognizes that some games may draw more reservations than others, so if they don’t have at least 20 people register for the buffet package for a given contest, they’ll forgo the buffet for that game and food ordering will come from the menu as it normally would. Customers already registered for the buffet in such cases would receive a menu credit for the amount paid.
Planning for multiple parties that include 48 nations would require substantial attention to detail no matter what, but official restrictions that accompany an event of this magnitude add significantly to the operational challenges. Benson said the Texas Restaurant Association has worked with him and other members to navigate FIFA’s sizable
list of rules, which include not using the terms “FIFA” or “World Cup” in marketing collateral. Staying on the governing body’s good side even extends to how games are shown: You must show the pregame 30 minutes in advance and the postgame.
Such rules preserve value for FIFA’s official sponsors and TV partners. One way Benson has made those agreements work to his advantage is by partnering with Anheuser-Busch, the official beer sponsor of the FIFA World Cup 2026. The brewer can provide a retail partner like Rex’s with official signage and more.
“We’re going to be giving away a lot of swag, lots of cups, hats, and things like that,” he said of co-branded Michelob Ultra/World Cup promotional items. But the most valuable assets will enable some lucky patrons to watch tournament games somewhere other than Benson’s bar and grill.
“We don’t know exactly when, but they are going to have two giveaways to give away two pairs of World Cup tickets to two different games,” he said. “We’re getting four total tickets.”
Rex’s has already started to build a presence on their website, and Benson said to expect lots of social media marketing, especially when they find out the details of how they’ll award the coveted tickets. He’s also taken a Texas-sized step to ensure nobody in the vicinity of his restaurant will have any doubt they can watch association football inside.
“We have a 25-foot soccer ball that says ‘Rex’s’ on the logo, and it’s massive,” he said. “We’re going to put that out in the front of the restaurant, because I wanted to make sure that everybody knew that we were football-friendly when it came to the World Cup.” l
percussion ensemble Goisagi is now a nonprofit whose mission includes outreach.
BY JUAN R. GOVEA
Goisagi’s current four pieces carry on the tradition and style of Asian drumming primarily as a percussion ensemble with differently sized custom drums along with other instruments like the fue (Japanese flute). “There’s a lot to it besides drum banging.”
Translated as “fat drum,” taiko is a form of drumming drawing from the music of Japan, China, Korea, and India, and it harks to the many roots of drumming under the World Music umbrella. And while Fort Worth couldn’t be any farther from Asia, there’s at least one taiko ensemble here.
Drummers Jay Cantu, Mayuri Patel, Weekly contributor Kena Sosa, and Kris Wong are known as Goisagi, and they recently released an album. Clocking in at 31 minutes, Inertia was recorded at The Epic in Grand Prairie and has been streaming on all platforms like Spotify since December. The songs are mostly vibrant, soulful, dramatic drumming with added background shouts of encouragement.
“We are really humbled showing others what we can do with our music,” Sosa said. “It’s visual storytelling without lyrics.”
Now a nonprofit, Goisagi performs throughout North Texas while also offering workshops at local libraries.
“We encourage [people] to audition and work with us and outreach to those who are curious, too,” Sosa said. “We want to grow talent.”
The group was founded and taught by Sean Ibanez. The 46-year-old San Antonio native got into taiko starting out as a kit drummer playing mostly metal and industrial plus a little jazz. When he first heard taiko, he said he was excited.
“That was before YouTube,” he said, adding that he saw live taiko in 2001 and wanted to join a group. It wasn’t until he moved to Fort Worth and found Dondoko that he was able to fulfill his passion. He also performed in Dallas with Kiyari Daiko before relocating to Hawaii in 2011 to study taiko with Kenny Endo Sensei.
Ibanez’s first taiko show was by the world-famous Kodo. “I was enraptured by the volume. You could feel it in your body. Combined with sharp, stoic choreography, I was hooked. None of it is digital, and the music is ensemble, so all the parts are divided up, and the performers really have to lock in to one another.”
Ibanez started Goisagi after moving back to Fort Worth in 2015. Now living in upstate New York, he aimed to blend his understanding of choreography and movement of drum beating from both taiko and Kung Fu to create pieces of music that stood out and were their own style.
“My main goal was to start an ensemble where we could do what we wanted, learn the
styles we wanted from authentic sources, and write our own music,” Ibanez said. “My focus changed after my studies in Hawaii, and I focused largely on the latter. So, I founded Goisagi as a platform to create our own music based on what I’d been taught in taiko.”
Other groups in the area are Kiyari Daiko and Dondoko.
The first taiko ensembles, in which different drums played different rhythmic and melodic parts together, were established in the 1950s in Japan. This ensemble-style of playing is generally referred to as kumidaiko (harmony drum) in North America or wadaiko (big drum) in Japan.
After Hawaii, Ibanez was committed to starting a group, but the equipment is expensive and hard to make, so there was a lot to do before he could even work with more than one other performer, Sosa.
Sosa spent time living in Japan and studying abroad during college, then moved to Texas. She wanted to still be involved with the cultural exchange between East and West when she met Ibanez.
“We want to make sure we are not boxed in as a style of music,” Sosa said.
The current four pieces carry on the tradition and style of Asian drumming primarily as a percussion ensemble with differently sized custom drums along with other instruments like the fue (Japanese flute).
“There’s a lot to it besides drum banging,” Sosa said. “It’s the style of striking and the feeling behind it that brings the energy. Taiko is best heard live with the actions of the players that spark choregraphed movements that are a part of our songs while we cheer each other on, giving energy and recognizing each other with bursts of yelling adding to the style.”
As a longtime percussionist, Sosa said the taiko drumming experience is joyful. “You’re sharing cultural knowledge and the style of full arm swings on drums and bringing the presence of energy out and blending sounds together emotionally. It’s definitely a growing tradition with the membership being truly what it is. If you want to join the group, we want to give a positive and eye-opening experience to people. We want to grow. We are recording artists that want to continue and give taiko more eyes and ears.” l
Goisagi
An elite scorer and Asian American who could be a modern face for the famously nondiverse NHL, Jason Robertson is a … Star.
BY PATRICK HIGGINS
It’s been little more than a week since the Dallas Stars were eliminated in the first round of the Stanley Cup playoffs 4-2 by the Minnesota Wild. The series loss represents Dallas’ earliest playoff exit in four years. Managing to pile up 10 goals with the extra man through the six games, Dallas attempted to ride their goliath power play from the regular season into postseason success. However, they were completely dominated at even strength against their former hometown’s club, being outscored 17-5 in the series when matched man to man, and that was their undoing. With last season’s superstar trade deadline acquisition Mikko Rantanen mostly quiet, and some shaky goaltending by Jake Oettinger, there’s plenty of blame to go around for the Stars’ unceremoniously abbreviated promising season. Yet little of it should lay at forward Jason Robertson’s skates. Four of the five goals Dallas did manage
Far from just a one-sided player, No. 21 regularly logs minutes against opponents’ top lines, displaying strong two-way prowess and steadily ranking among the club’s top in plus/minus. This season’s +22 was bested only by blue-line stalwart Essa Lindell.
to score at even strength came off the stick of the star left winger. Logging five goals and eight points over the series’ six games with little help from his teammates, Robertson appeared to continue his electric 2026 regular season campaign into the playoffs and was one of the few bright spots against Minnesota.
This season is the last in Robertson’s current deal. He enters the offseason as a restricted free agent, and he’s certainly made the most of this contract year. “Robo” certainly had a career year, leading the team with 96 points (45 goals, 51 assists), though that performance is not an outlier. In his seven seasons in Dallas, the Filipino American has been one of the best forwards in the NHL, ranking in the Top 10 in most scoring categories. His total this year makes it his fourth consecutive season with 80 or more points. That’s a run matched only by the organization’s brightest Star, the legendary Mike Modano, in the franchise’s history. In 2021-2022, Robertson tallied 79 points, just one point shy of making 2026 the fifth straight year. The 26-year-old also boasted a seven-game goal-scoring streak, a feat not even Modano pulled off, and represents the longest such streak since the North Stars relocated to Dallas. Robertson’s offensive consistency has already vaulted him to 14th in scoring in franchise history in his short career.
Robertson’s consistent elite performance continues to highlight the controversial snub by Team USA in this year’s Winter Olympics. Despite leading all American-born players with 48 points, and ranking second in goal scoring, Robertson was a confounding noninvite. Many believe his ethnicity as an Asian American could have played a role in being denied the chance to play for his country. His mother, Mercedes Robertson, immigrated to the United States from Manila when she was 3 years old. It was alleged that he was left off the national team because he supposedly didn’t meet the threshold of the blue-eyed, square-jawed image of Captain America or that he was too much of a finesse player and doesn’t have the trench-warfare, along-the-boards grit that USA hockey is known for. Whatever the reason, when considering a possible extension for Robertson, the Stars would do well not to make the same mistake.
In fact, it would be easy to argue that there might be no better player than Robertson to represent the United States. His multiethnic background encapsulates one of America’s most defining values: diversity. Nowhere else on Earth is there a population as multiracial, multiethnic, and multicultural. Robertson’s Asian heritage doesn’t contradict the definition of Americanism. It defines it.
While the NHL is certainly an international league, the players who make it up are overwhelming monoethnic. See also: white. There are currently only a handful of ethnically Asian players in the league. In addition to Robertson, other notable players of Asian decent are the Montreal Canadiens’ Nick Suzuki and the Utah Mammoth’s Kailer Yamamoto, who are both Japanese, and New Jersey Devils’ Jonas Siegenthaler, who is Swiss-Thai. Jason Robertson’s younger brother, Nicholas, plays for the Toronto Maple Leafs, and former teammate Matt Dumba, now a Pittsburgh Penguin, shares the Robertsons’ Filipino heritage. Historically, there have been only 40 or so players of Asian decent in the entire 100-year history of the NHL. Or roughly 0.4% of the 9,000 current and former players. The National Hockey League has been plagued by charges of subconscious
racism for decades. Robertson as a face for the league helps curtail some of those accusations. He has the best chance at reaching the same bar for Asian-decedent hockey players that was set by Hall of Famer Paul Kariya 20 years ago.
Not only does Robo make a great representative for the country and the league, but as a Dallas Star, he’s an ideal rep for the state. Texas has the third-largest Asian-American population in the United States, and the community is the fastest growing ethnic group in the Lone Star State. Roberston has been very vocal about how seriously he takes his role as a representative for the AsianAmerican community and the meaningfulness of his presence as a step toward diversity in a sport so egregiuosly devoid of it. While Dallas has a reputation for being the NHL’s version of the Finnish National Team (four of the team’s biggest stars hail from the Scandinavian country), the Stars would be wise to lean into Robertson as the best marketing vehicle for the sport of hockey in Texas. He represents the face of what a modern league should aspire to. Lord knows, at worst, they still need his even-strength goal scoring. Lock him up. l
Notice of Draft Federal Operating Permit
Draft Permit No.: O4244
Application and Draft Permit. Flint Hills Resources Corpus Christi LLC, 12555 Clark Rd, Rosemount, MN 550684226, has applied to the Texas Commission on Environmental Quality (TCEQ) for a renewal of Federal Operating Permit (herein referred to as Permit) No. O4244, Application No. 39534, to authorize operation of the Fort Worth Terminal, a Petroleum Bulk Stations and Terminals facility. The area addressed by the application is located at 12550 Trinity Blvd in Euless, Tarrant County, Texas 76040-7030. This link to an electronic map of the site or facility’s general location is provided as a public courtesy and not part of the application or notice. For exact location, refer to the application. You can find an electronic map of the facility at: https://gisweb.tceq.texas.gov/LocationMapper/?marker=97.093055,32.815833&level=13. This application was received by TCEQ on December 15, 2025.
The purpose of a federal operating permit is to improve overall compliance with the rules governing air pollution control by clearly listing all applicable requirements, as defined in Title 30 Texas Administrative Code § 122.10 (30 TAC § 122.10). The draft permit, if approved, will codify the conditions under which the area must operate. The permit will not authorize new construction. The executive director has completed the technical review of the application and has made a preliminary decision to prepare a draft permit for public comment and review. The executive director recommends issuance of this draft permit. The permit application, statement of basis, and draft permit will be available for viewing and copying at the TCEQ Region 4, 2309 Gravel Dr, Fort Worth, Texas 76118-6951, beginning the first day of publication of this notice. The draft permit and statement of basis are available at the TCEQ Website: www.tceq.texas.gov/goto/ tvnotice. The application, including any updates, is available electronically at the following webpage: https://www. tceq.texas.gov/permitting/air/airpermit-applications-notices. This information may also be accessed electronically at TCEQ Central Office, Office of Chief Clerk, Building F, First Floor, Austin Texas and TCEQ Dallas/Fort Worth Regional Office. Relevant supporting materials for the draft permit, including the New Source Review permits which have been incorporated by reference, may also be accessed electronically at these locations.
Public Comment/Notice and Comment Hearing. Any person may submit written comments on the draft permit. Comments relating to the accuracy, completeness, and appropriateness of the permit conditions may result in changes to the draft permit.
A person who may be affected by the emission of air pollutants from the permitted area may request a notice and comment hearing. The purpose of the notice and comment hearing is to provide an additional opportunity to submit comments on the draft permit. The permit may be changed based on comments pertaining to whether the permit provides for compliance with 30 TAC Chapter 122 (examples may include that the permit does not contain all applicable requirements or the public notice procedures were not satisfied). TCEQ may grant a notice and comment hearing on the application if a written hearing request is received within 30 days after publication of the newspaper notice. The hearing request must include the basis for the request, including a description of how the person may be affected by the emission of air pollutants from the application area. The request should also specify the conditions of the draft permit that are inappropriate or specify how the preliminary decision to issue or deny the permit is inappropriate. All reasonably ascertainable issues must be raised, and all reasonably available arguments must be submitted by the end of the public comment period. If a notice and comment hearing is granted, all individuals that submitted written comments or a hearing request will receive written notice of the hearing. This notice will identify the date, time, and location for the hearing.
Written public comments and/or requests for a notice and comment hearing should be submitted to the Texas Commission on Environmental Quality, Office of the Chief Clerk, MC-105, P.O. Box 13087, Austin, Texas 78711-3087, or electronically at www14.tceq.texas.gov/epic/eComment/ and be received within 30 days after the date of newspaper publication of this notice. Please be aware that any contact information you provide, including your name, phone number, email address and physical address will become part of the agency’s public record.
A notice of proposed final action that includes a response to comments and identification of any changes to the draft permit will be mailed to everyone who submitted public comments, a hearing request, or requested to be on the mailing list for this application. This mailing will also provide instructions for public petitions to the U.S. Environmental Protection Agency (EPA) to request that the EPA object to the issuance of the proposed permit. After receiving a petition, the EPA may only object to the issuance of a permit which is not in compliance with the applicable requirements or the requirements of 30 TAC Chapter 122.
Mailing List. In addition to submitting public comments, a person may ask to be placed on a mailing list for this application by sending a request to the Office of the Chief Clerk at the address above. Those on the mailing list will receive copies of future public notices (if any) mailed by the Chief Clerk for this application.
Information. For more information about the permitting process, please call the TCEQ Public Education Program, Toll Free, at 1-800-687-4040 or visit their website at www.tceq.texas.gov/goto/pep. Si desea información en Español, puede llamar al 1-800-687-4040. You can also view our website for public participation opportunities at www.tceq. texas.gov/goto/participation.
Further information may also be obtained for Flint Hills Resources Corpus Christi LLC by calling Ms. Holli Vanoverbeke at (651) 438-5669.
Notice Issuance Date: April 10, 2026
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