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    a most noble search

    Ken Hoffman reunites with Houston's top-ranked competitive eater who's searching for her birth parents

    Ken Hoffman
    Dec 12, 2022 | 3:07 pm

    The first time I met Mary (“I Love ‘Em Hot”) Bowers was in 2014. She was competing in a hot dog eating contest at Memorial City Mall. Two winners, the top man and top woman, would earn a seat at the Nathan’s July 4 Hot Dog Contest in Coney Island, the Super Bowl of Competitive Eating.

    I was Bowers’ judge, standing directly in front of her, practically nose-to-nose, counting how many hot dogs and buns she ate and held down. Rules must be followed. She was no newcomer to competitive eating and employed the separate-and-dunk method of consuming the franks, made famous by Japanese eating legend, Takeru Kobayaski

    First she removed the hot dog from the bun, broke the hot dog in half and shoved it in her mouth. Then she dunked the bun in a bowl of warm water and pushed that into her mouth. Then with minimal chewing and apologies to 7-11 convenience stores, she took a Big Gulp. (You won’t find this technique in Emily Post’s Book of Etiquette.)

    I was no rookie on the competitive eating circuit, either, but as a judge, stationed on the other side of the table piled high with hot dogs. I counted hot dogs for some of the biggest names in competitive eating for about a dozen years in Coney Island. I knew the ins and outs of the contest rules. I knew what to look for.

    And then something happened that I wasn’t looking for and wasn’t counting on. Ever. At a hot dog contest — or anywhere else.

    About seven hot dogs in, Bowers coughed or burped or hiccupped – doesn’t matter – and shards of partially chewed frankfurter and gloppy wet bun flew onto my face.

    Some it landed in my mouth.

    A really gross intro

    This wasn’t like when someone is talking with you and a tiny bit of spit flies out of their mouth and lands on you. You wipe that away discreetly and pretend it didn’t happen.

    There was no pretending this time. I hocked out what had flown into my mouth and wiped the rest off my face with my sleeve. (That’s because I got class.) Both Bowers and I were gamers and the contest continued. She won the women’s event that day and earned her ticket to Coney Island, where I again counted her hot dogs and buns — this time without incident.

    Bowers became a star on the Major League Eating circuit – while also working as project manager for U.S. Customs and Border Protection. She is the No. 9-ranked female eater in the world. Her best effort in a sanctioned event: five pounds of boysenberry pie in eight minutes.

    Bowers has displayed her astronomical, gastronomical ability on television shows around the world, including America’s Got Talent (she received four "no" votes, but admiration from Sofia Vergara), and the new Gong Show in the U.S.

    She also is a model, poet and fashion designer, dubbed “The Chanel of Beschamel.” For each contest she creates a special fashion accessory, for example, a fascinator made with shrimp cocktail.

    Ken's spit take

    That was the last I heard from Bowers … until I opened an email the other night.

    “Remember me? I am sorry that I spit food into your mouth when you were a judge at the hot dog contest in Houston.”

    That’s a heck of an opener.

    She continued, “I would love to catch up with you regarding an international news story I’m involved with.”

    You had me at “spit food in your mouth.” Call me.

    Bowers was born in South Korea in 1982. At five months old, she was flown to U.S. by a Korean adoption service and placed with a couple in Colorado. She grew up, graduated from the NewSchool of Architecture and Design in San Diego, and began a career with U.S. Home Security, while designing clothes and entering eating contests on the side.

    A noble quest

    In early 2020, just before the start of the COVID pandemic, something stirred in Bowers. She sold everything that didn’t fit in to two suitcases and moved to South Korea, an hour outside of Seoul, in a quest to find her biological parents – and she says – herself.

    “I have been told that my birth parents are alive and married. This information was provided to me by the adoption agency that also has said I am a legal orphan whose parents are unknown. The papers confirming that my adoptive parents received had little information, even the space for my name was blank,” she said.

    Bowers lives in a small apartment and teaches English at a private school to support herself. She says that adoption services in South Korea often were allowed to operate without regulation and, in some cases, oversight concerning legality.

    She said that an estimated 200,000 babies were sent to adoptive homes around the world from South Korea over the last six decades, with at least 30,000 sent by her adoption agency alone.

    Bowers isn’t alone in searching for her biological parents. There are hundreds of others, from the U.S. as well as Australia, Denmark, Germany, Belgium, Sweden and Norway, who also submitted cases to the Korean government's Truth and Reconciliation Committee.

    “As of last week, I have joined 368 other adoptees in submitting cases to Korea’s Truth and Reconciliation Commission, requesting investigation into international adoption practices. Unfortunately in my case there are no relinquishment papers on record, nor a consistent paper trail between the time I was born and the time I was sent abroad. This seems to be a common issue across adoption files.”

    I asked Bowers why it is important for her to find her birth parents.

    “A tree can be uprooted and put in a pot and transported somewhere else. It will grow with enough light and water, but its roots cannot grow beyond the container. But a tree that is planted in the ground can grow roots that are deep. Its branches will be taller and it will reach greater heights. Growing up, I felt like a potted plant. If I am to reach greater heights, I must connect with my roots,” she said.

    And what will be the first words she says to her birth parents if she finds them?

    “I don’t know. When words fail, the heart speaks. I am Korean-American. I have two families, two countries, one heart. My heart is big enough for both,” Bowers said. “I am searching to create a life that allows for all of it.”

    Photo courtesy of Mary Bowers

    Bowers is ranked No. 9 in the U.S.

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    preserve Houston's history

    Preservationists stage last-ditch attempt to save historic Houston theatre

    Emily Cotton
    Feb 17, 2026 | 3:30 pm
    Garden Oaks Theatre protest
    Courtesy of Arthouse Houston
    Community members rally to preserve the Garden Oaks Theatre.

    Houstonians residing in the Heights, Garden Oaks, and far beyond were thrown into a tizzy last week by the abrupt news that the Garden Oaks Theater had been purchased by commercial developers in a $7.1 million, off-market deal.

    Within a matter of days, demolition permits were granted, sewer lines disconnected from the city, and — as of Monday night — construction fencing was placed around the property. Both Preservation Houston and Arthouse Houston, an offshoot of the Friends of River Oaks Theatre, have voiced concerns over the apparent plans to raze the Art Deco building before the community has had time to react to the news.

    Built in 1947, the Garden Oaks Theater is one of several post-war Houston theaters designed for the Interstate Circuit by H.F. Pettigrew and John A. Worley of the Dallas firm Pettigrew & Worley, alongside its sister cinema, the River Oaks Theatre. It is a classic example of streamlined Art Deco design — an architectural gem that connects Houston’s everyday streetscape to its cinematic past.

    Arthouse Houston has been sitting on preservation plans for the theater for years, waiting for it to be sold by the church that had owned and utilized the building since the 1990s. The 700-plus seat theater, along with its stage, has retained its original architectural details and features throughout the years, save for a short stage extension project carried out by the church.

    Developers have not responded to proposals by Arthouse Houston to either buy or lease the movie theater to return it to its original use while simultaneously operating as a community arts center and much needed “third place.”

    According to State of Texas records, parties involved include the Heights Equity Trust, Sage Equity Partners, and Heights Investment Fund, LLC. None of these entities have responded to CultureMap’s request for comment about their plans for the property.

    Jim Parsons, programs and communications director for Preservation Houston, issued this statement to CultureMap:

    “The Garden Oaks Theater and buildings like it give the city a sense of identity. People don't just recognize these places, they remember them. Houston is always changing, but when we treat historic architecture as disposable, we risk losing the landmarks that anchor neighborhoods and give them character.”

    Maureen McNamara, Arthouse Houston’s co-founder and director, is hoping that developers took note of the “save the theater” rally that took place at the theater on Sunday, February 15, and may have a change of heart. Coverage of the rally by ABC13 was widely circulated on social media, so it’s unlikely that the developers are unaware of the public outcry to save the theater — and is what likely led to fencing going up only a day later.

    “We feel like we’re pretty well poised to step in and help investors to incorporate the theater into a larger project, and the first step is to make sure that we win them over,” McNamara tells CultureMap. “Part of winning them over is making sure they know how much the community cares, and seeing how beautiful and dynamic restoring our historical buildings and theaters can be.”

    The restoration of River Oaks Theatre and the attention that project has brought to the area is something McNamara is confident she can replicate.

    “There are nonprofit organizations all over the US saving and running historic theaters as community arts centers, and arts and film centers — there are models for this. Austin just did a big push with the Paramount Theatre,” says McNamara. “I’d like for it [Garden Oaks Theater] to exist for its original purpose — at least in part, as a movie theater — with some live theater components as well.”

    A petition on change.org has already garnered more than 1,000 signatures. In addition, Arthouse Houston will attend a Houston City Council meeting on Wednesday, February 18, at 9 am to discuss what there is to be done about this situation. McNamara encourages people to join them.

    “We would love any help we can get getting people there, signing up to speak if possible — it would be great to have a crowd there.”

    Garden Oaks Theatre protest

    Courtesy of Arthouse Houston

    Community members rally to preserve the Garden Oaks Theatre.

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