Can Bar Kabawa's Caribbean Patties Become the Next Momofuku Pork Bun?
Can Paul Carmichael do for the Caribbean patty what his boss, David Chang, did for the pork bun?
That was my question after a recent visit to Bar Kabawa, the just-opened bar from the Momofuku group, which specializes in two things: rum drinks and patties to eat with them. Chang launched the famed brand in 2004 with the opening of Momofuku Noodle Bar; the place kicked off a worldwide obsession for Chinese steamed pork buns.
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‘Lee Soo Man: King of K-Pop' Director and Subject Talk New Prime Video Documentary
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Naive American tourist hilariously falls for ‘genius' London restaurant prank: ‘Talk about a mis-steak'
This American tourist got served — in more ways than one. Liam Nelson, a New York comedian in London for a gig, thought he'd sniffed out a hidden culinary standout when he stumbled across glowing online reviews for Angus Steakhouse in Leicester Square. But what did he actually find? A side of steak with a supersized helping of British sarcasm. 'I went on Reddit, every single response was Angus Steakhouse in Leicester Square,' Nelson said in a June 1 TikTok video, captioned 'Talk about a mis-steak…,' which quickly racked up over 127,000 views. 'I thought maybe this is a little hole-in-the-wall area next to all these shops, like a secret hidden gem.' Turns out, he was the latest victim of a long-running British prank — London Redditors have been 'love bombing' tourist-trap chains like Angus with five-star reviews to keep real foodies away from the city's actual best eateries, as reported by The Daily Mail. 'I found an article about how London Reddit has tried to send tourists to Angus Steakhouse to preserve the good steakhouses for themselves — genius,' he said in his nearly six-minute clip. 'I have never seen Reddit all agree on a restaurant before,' Nelson added. 'And they all had these glowing reviews … Some voice in the back of my head was saying 'this is wrong, this is not normal' and I ignored it.' Not exactly a red flag he picked up on — until it was too late. The joint, he soon discovered, was actually 'loud,' 'chaotic' and came with a 'giant neon sign.' A New York funnyman thought he found a sizzling hidden gem in London — until a juicy twist at Angus Steakhouse left a bad taste. WD Stock Photos – Then came the gray slab of steak. 'It was bad. I tried the creamed spinach — worse than frozen somehow. London Reddit, that is one for you, zero for me.' Fellow TikTokkers had a field day with the viral video. 'As a London Redditor who actively takes part in this joke; I'm not sorry,' one user gloated beneath Nelson's clip. Another added, 'Hahaha I'm glad it actually got someone,' while someone else summed it up with, 'WE GOT ONE.' Others offered redemption suggestions in the comments section: 'Go Flat Iron, it's in Covent Garden, affordable decent steak,' and 'Next time you're in London, get a steak at the Guinea Grill Pub in Mayfair! Incredible steakhouse.' Turns out, Nelson got played — locals have been flooding tourist-trap chains like Angus with five-star reviews in a cheeky bid to steer foodies far from the real gems. Tiktok/liamnelsoncomedy The whole beefy debacle comes amid rising tension between real reviews and fake raves — a trend The Post has covered before. Earlier this year, a Florida restaurant tried — and failed — to sue a customer over a one-star review. Irene Eng, a prolific Yelp and TripAdvisor reviewer, was slapped with a defamation lawsuit by Hales Blackbrick, a Chinese eatery in Tampa, after calling its spare ribs 'dry' and its coffee 'lukewarm — a Cardinal sin!!' The suit was tossed in February, with the judge siding with Eng's First Amendment rights. 'I'm 1,000% for freedom of speech — you can say whatever you want,' chef Richard Hales later told the Tampa Bay Times. 'We're not thin-skinned, we're just humans.' Still, the great steak debate rages on. And for now, Nelson's just hoping his next meal won't be medium-rare — or medium-roasted by the internet.
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'Eternal Queen of Asian Pop' sings last encore from beyond the grave
To the delight of millions of fans of the late Teresa Teng, the track titled 'Love Songs Are Best in the Foggy Night' will appear on an album to be released June 25. Photo by Van3ssa_/ Pixabay Several years ago, an employee at Universal Music came across a cassette tape in a Tokyo warehouse while sorting through archival materials. On it was a recording by the late Taiwanese pop star Teresa Teng that had never been released. The pop ballad, likely recorded in the mid-1980s while Teng was living and performing in Japan, was a collaboration between composer Takashi Miki and lyricist Toyohisa Araki. Now, to the delight of her millions of fans, the track titled "Love Songs Are Best in the Foggy Night" will appear on an album to be released June 25. Teng died 30 years ago. Most Americans know little about her life and her body of work. Yet, the ballads of Teng, who could sing in Mandarin, Cantonese, Japanese and Indonesian, continue to echo through karaoke rooms, on Spotify playlists, at tribute concerts and at family gatherings across Asia and beyond. I study how pop music has served as a tool of soft power, and I've spent the past several years researching Teng's music and its legacy. I've found that Teng's influence endures not just because of her voice, but also because her music transcends Asia's political fault lines. From local star to Asian icon Born in 1953 in Yunlin, Taiwan, Teresa Teng grew up in one of the many villages that were built to house soldiers and their families who had fled mainland China in 1949 after the communists claimed victory in the Chinese civil war. Her early exposure to traditional Chinese music and opera laid the foundation for her singing career. By age 6, she was taking voice lessons. She soon began winning local singing competitions. "It wasn't adults who wanted me to sing," Teng wrote in her memoir. "I wanted to sing. As long as I could sing, I was happy." At 14, Teng dropped out of high school to focus entirely on music, signing with the local label Yeu Jow Records. Soon thereafter, she released her first album, Fengyang Flower Drum. In the 1970s, she toured and recorded across Taiwan, Hong Kong, Japan and Southeast Asia, becoming one of Asia's first truly transnational pop stars. Teng's career flourished in the late 1970s and 1980s. She released some of her most iconic tracks, such as her covers of Chinese singer Zhou Xuan's 1937 hit, "When Will You Return?" and Taiwanese singer Chen Fen-lan's "The Moon Represents My Heart," and toured widely across Asia, sparking what came to be known as "Teresa Teng Fever." In the early 1990s, Teng was forced to stop performing for health reasons. She died suddenly of an asthma attack on May 8, 1995, while on vacation in Chiang Mai, Thailand, at age 42. China catches Teng Fever Perhaps the most remarkable aspect of Teng's story is that Teng Fever peaked in China. Teng was ethnically Chinese, with ancestral roots in China's Shandong province. But the political divide between China and Taiwan following the Chinese civil war had led to decades of hostility, with each side refusing to recognize the legitimacy of the other. During the late 1970s and 1980s, however, China began to relax its political control under Deng Xiaoping's Reform and Opening Up policy. This sweeping initiative shifted China toward a market-oriented economy, encouraged foreign trade and investment, and cautiously reintroduced global cultural influences after decades of isolation. Pop music from other parts of the world began trickling in, including Teng's tender ballads. Her songs could be heard in coastal provinces such as Guangdong and Shanghai, inland cities such as Beijing and Tianjin, and even remote regions such as Tibet. Shanghai's propaganda department wrote an internal memo in 1980 noting that her music had spread to the city's public parks, restaurants, nursing homes and wedding halls. Teng's immense popularity in China was no accident. It reflected a time in the country's history when its people were particularly eager for emotionally resonant art after decades of cultural propaganda and censorship. For a society that had been awash in rote, revolutionary songs like "The East is Red" and "Union is Strength," Teng's music offered something entirely different. It was personal, tender and deeply human. Her gentle, approachable style -- often described as "angelic" or like that of "a girl next door" -- provided solace and a sense of intimacy that had long been absent from public life. Teng's music was also admired for her ability to bridge eras. Her 1983 album, Light Exquisite Feeling, fused classical Chinese poetry with contemporary Western pop melodies, showcasing her gift for blending the traditional and the modern. It cemented her reputation not just as a pop star but as a cultural innovator. It's no secret why audiences across China and Asia were so deeply drawn to her and her music. She was fluent in multiple languages; she was elegant but humble, polite and relatable, she was involved in various charities, and she spoke out in support of democratic values. A sound of home in distant lands Throughout the 1990s and early 2000s, the Chinese immigrant population in the United States grew to over 1.1 million. Teng's music has also deeply embedded itself within Chinese diasporic communities across the country. In cities such as Los Angeles, San Francisco and New York, Chinese immigrants played her music at family gatherings, during holidays and at community events. Walk through any Chinatown during Lunar New Year and you're bound to hear her voice wafting through the streets. For younger Chinese Americans and even non-Chinese audiences, Teng's music has become a window into Chinese culture. When I was studying in the United States, I often met Asian American students who belted out her songs at karaoke nights or during cultural festivals. Many had grown up hearing her music through their parents' playlists or local community celebrations. The release of her recently discovered song is a reminder that some voices do not fade -- they evolve, migrate and live on in the hearts of people scattered across the world. In an age when global politics drive different cultures apart, Teng's enduring appeal reminds us of something quieter yet more lasting: the power of voice to transmit emotion across time and space, the way a melody can build a bridge between continents and generations. I recently rewatched the YouTube video for Teng's iconic 1977 ballad, "The Moon Represents My Heart." As I read the comments section, one perfectly encapsulated what I had discovered about Teresa Teng in my own research: "Teng's music opened a window to a culture I never knew I needed." Xianda Huang is a doctoral student in Asian Languages and Cultures at the University of California-Los Angeles. This article is republished from The Conversation under a Creative Commons license. Read the original article. The views and opinions in this commentary are solely those of the author.
