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Summer 2024: Bay Area Music Festivals and Outdoor Concerts | KQED
Victoria Monét, pictured here on the San Francisco stop of her tour at the Regency Ballroom in 2023, returns to perform at this year's Outside Lands music festival in Golden Gate Park. (Dana Jacobs/Getty Images)
There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.
Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.
Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “West Coast Weekend,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.
May 21, 2024
Lake Merritt Bandstand, Oakland
Free with RSVP
Sponsored
Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.
This year’s intergenerational lineup is full of heavy hitters, not least Too Short, The Conscious Daughters (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “Cupcake No Fillin” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and 1100 Himself, among others.
May 24–26, 2024
Napa Valley Expo, Napa
Single-day GA: $243; three-day GA: sold out
Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album Orquídeas envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.
June 1–2, 2024
Napa Valley Expo, Napa
Single-day GA: sold out; two-day GA: $358
If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band Cafe Tacvba; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.
June 2, July 7 and Aug. 4, 2024
The Pergola, Vallejo
Pay what you want
LaRussell has done it his way at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very disadvantageous to emerging artists. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.
June 8, 2024
Fulton Street Plaza, San Francisco
Free
The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker Goapele, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. Stunnaman02, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “That Filthy”; Zion I collaborator Dustin Sharpe; and DJs Big Von, D Sharp, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.
Jun 12, 2024 Mountain Winery, Saratoga $49.50–$89.50
George Clinton is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.
Sundays June 23-Aug. 25, 2024
Sigmund Stern Recreation Grove, San Francisco
Free with RSVP
Every Sunday this summer, there’s a free concert in the park at Stern Grove. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.
July 6–7, 2024 Mosswood Park, Oakland Single day: $99+; two-day: $159+
Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.
Aug. 9–11, 2024 Golden Gate Park, San Francisco Single-day GA: $199+, three-day pass: $449+
You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s Cowboy Carter, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a new wedding venue — and that’s on top of its many culinary and cannabis offerings.
No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album A La Sala, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.
For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his wooden flute) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.
lower waypoint
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Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1716337520","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"},"bloewinsohn":{"type":"authors","id":"11904","meta":{"index":"authors_1716337520","id":"11904","found":true},"name":"Briana Loewinsohn","firstName":"Briana","lastName":"Loewinsohn","slug":"bloewinsohn","email":"brianabreaks@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/3d271841017c9b3e8fd8bf5552758c08?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Briana Loewinsohn | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/3d271841017c9b3e8fd8bf5552758c08?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/3d271841017c9b3e8fd8bf5552758c08?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/bloewinsohn"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1716337520","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. 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In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>[aside postid='arts_13955125']“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n","blocks":[],"excerpt":"Just when you thought it was safe to go back in the water, Santa Cruz’s most maniacal marine mammal has returned.","status":"publish","parent":0,"modified":1717013945,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":381},"headData":{"title":"Lock Up Your Surfboards — Otter 841 Is Back | KQED","description":"Just when you thought it was safe to go back in the water, Santa Cruz’s most maniacal marine mammal has returned.","ogTitle":"The Infamous Santa Cruz Otter Is Back — and Ready to Snack on Your Surfboards","ogDescription":"","ogImgId":"","twTitle":"The Infamous Santa Cruz Otter Is Back — and Ready to Snack on Your Surfboards","twDescription":"","twImgId":"","socialTitle":"Lock Up Your Surfboards — Otter 841 Is Back%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Infamous Santa Cruz Sea Otter Is Back and Ready to Snack (on Surfboards)","datePublished":"2024-05-29T12:04:47-07:00","dateModified":"2024-05-29T13:19:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958776","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958776/santa-cruz-attack-otter-841-is-back-steamer-lane-surfboard","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just when you thought it was safe to to go back in the the water, she’s returned!\u003c/p>\n\u003cp>Otter 841, the subversive sea mama with a surfboard vendetta has been spotted again in the waters of Santa Cruz after a five-month hiatus. In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955125","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958776/santa-cruz-attack-otter-841-is-back-steamer-lane-surfboard","authors":["11242"],"categories":["arts_1","arts_75"],"tags":["arts_9124","arts_10278","arts_1028"],"featImg":"arts_13958825","label":"arts"},"arts_13958926":{"type":"posts","id":"arts_13958926","meta":{"index":"posts_1716263798","site":"arts","id":"13958926","found":true},"guestAuthors":[],"slug":"nations-burgers-pies-late-night-diner-san-pablo","title":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","publishDate":1717182913,"format":"aside","headTitle":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13958934\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg\" alt=\"Illustration: Two men eating a spread of diner food (burger, onion rings, bacon, strawberry pie) while a woman approaches the table carrying more food on a tray.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nation’s hefty cheeseburgers and glistening strawberry pies are classic Bay Area diner food. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week, they were joined by guest artist — and longtime Nation’s enthusiast — Briana Loewinsohn. \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com\">Nation’s Giant Hamburgers and Great Pies\u003c/a> probably doesn’t need much of an introduction.\u003c/p>\n\u003cp>Particularly if you grew up in the East Bay, chances are there was one of these fast food diners in or near your hometown. Maybe it was where your family went to grab a quick dinner when no one felt like cooking, or where the Little League coach would bring the team for post-game burgers and shakes. In high school, you might have spent hours there after school, multiple times a week, just shooting the shit with friends.\u003c/p>\n\u003cp>And for a wide swath of the Bay, the local Nation’s was almost certainly one of the only places in town where you could order a slice of pie or a full breakfast plate at 1 or 2 o’clock in the morning.\u003c/p>\n\u003cp>So when we saw that the chain’s original location in San Pablo is still open 24/7, we knew we had to pay a visit. The restaurant opened in 1952 as a tiny, \u003ca href=\"https://nationsrestaurants.com/our-story\">six-stool hot dog counter\u003c/a> (originally called “\u003ca href=\"https://www.sfgate.com/food/article/Nations-Giant-Hamburgers-East-Bay-16211282.php\">Harvey’s\u003c/a>”). The current, and much larger, iteration of the building sits across the street from the (also 24-hour) San Pablo Lytton Casino, and when you pull up after dark, it looks very much like the image of the quintessential diner that I hold in my mind’s eye: a squat, brick-faced beacon in the night, all aglow with red and white neon.\u003c/p>\n\u003cfigure id=\"attachment_13958936\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg\" alt=\"Illustration: The exterior of a Nation's fast food burger restaurant, lit up in neon at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The original San Pablo location of Nation’s is still open 24/7. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Thursday night, the crowd inside was about 40% young families out late with their kids, 40% chatty high schoolers and 20% very hungry middle-aged men (salute to my people), with their diner breakfast plates \u003ci>and\u003c/i> chili con carne \u003ci>and\u003c/i> banana cream pie spread out on the table like some midcentury still life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than anything, it seemed to be a strictly locals kind of place – Nation’s, as a rule, is not much of a destination restaurant. “I guess you guys are from out of town,” the woman next to us in line said, laughing, not unkindly, when she saw us taking photos of the pie case and gawking at the menu with a little bit too much excitement.\u003c/p>\n\u003cp>If in doubt, you’ll probably just want to order a cheeseburger. So many Bay Area people talk up In-N-Out, our most celebrated SoCal import, that it’s easy to forget that Nation’s is the Bay’s own homegrown — and arguably superior — fast food burger chain.\u003c/p>\n\u003cp>A Nation’s cheeseburger has its own particular architecture. It has a surprising heft, mostly attributable to the thick, 5-ounce patty, but the main points of distinction are 1) the massive dollop of mayonnaise slathered underneath the patty and 2) the thick rounds of crunchy raw onion that provide a sharp counterpoint to the salty, fatty beef and cheese. (Ignore the wrongheaded people who try to convince you that it’s “too much onion.”) It’s a tasty, well-constructed burger — and if you’re feeling decadent, the fried egg and the uncommonly crispy bacon are both excellent add-ons.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13958466,arts_13954597,arts_13956683']\u003c/span>\u003c/span>We found the rest of the menu to be a little bit hit or miss. The fries were mediocre. The onion rings, while piping hot, were crumbly and underseasoned, and fell apart when we tried to eat them. The Oreo milkshake, on the other hand, was fantastic, with the ideal, slurpable thickness. And the classic breakfast plates — available in One-Egger, Two-Egger and Three-Egger permutations — are as solid as they come for an after-midnight breakfast option, with properly runny fried eggs and more of that good bacon (even if the hash browns were a bit pale and limp).\u003c/p>\n\u003cp>Our apologies, though, that we’ve gone this far without talking about Nation’s second biggest claim to fame: its pies.To be more specific, the strawberry pies, which the chain sells each spring and early summer as part of a big seasonal promotion that also features strawberry pancakes, strawberry French toast, strawberry cheesecake and straight-up bowls of strawberries (the quaintest, and most Bay Area, option).\u003c/p>\n\u003cp>The stunner, though, is the individual-size strawberry tart: a fairly standard pie shell with a mound of whole, fresh strawberries piled probably six inches high, ringed with spray-can whipped cream and coated in goopy red glaze — a pleasing juxtaposition in the way it’s both natural \u003ci>and \u003c/i>unnatural. Despite the glop, the luxuriousness of this Nation’s pie is that you’re essentially just eating a whole pint’s worth of surprisingly sweet, ripe strawberries.\u003c/p>\n\u003cp>I suppose that’s Bay Area diner culture, in a nutshell. And to be able to eat such a pie, and such a burger, at 3 o’clock in the morning? It’s what makes Nation’s a Bay Area classic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com/\">\u003ci>Nation’s\u003c/i>\u003c/a>\u003ci> has 28 locations in Northern California, mostly concentrated in the East Bay (plus two in Texas). The original San Pablo location at 13296 San Pablo Dam Rd. is open 24/7.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nation’s Giant Hamburgers has been a classic after-hours hangout spot for more than 70 years.","status":"publish","parent":0,"modified":1717182913,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":982},"headData":{"title":"Nation's 24-Hour Burger Restaurant Is a Late-Night East Bay Landmark | KQED","description":"Nation’s Giant Hamburgers has been a classic after-hours hangout spot for more than 70 years.","ogTitle":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","ogDescription":"","ogImgId":"","twTitle":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","twDescription":"","twImgId":"","socialTitle":"Nation's 24-Hour Burger Restaurant Is a Late-Night East Bay Landmark %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","datePublished":"2024-05-31T12:15:13-07:00","dateModified":"2024-05-31T12:15:13-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13958926","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958934\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg\" alt=\"Illustration: Two men eating a spread of diner food (burger, onion rings, bacon, strawberry pie) while a woman approaches the table carrying more food on a tray.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nation’s hefty cheeseburgers and glistening strawberry pies are classic Bay Area diner food. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week, they were joined by guest artist — and longtime Nation’s enthusiast — Briana Loewinsohn. \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com\">Nation’s Giant Hamburgers and Great Pies\u003c/a> probably doesn’t need much of an introduction.\u003c/p>\n\u003cp>Particularly if you grew up in the East Bay, chances are there was one of these fast food diners in or near your hometown. Maybe it was where your family went to grab a quick dinner when no one felt like cooking, or where the Little League coach would bring the team for post-game burgers and shakes. In high school, you might have spent hours there after school, multiple times a week, just shooting the shit with friends.\u003c/p>\n\u003cp>And for a wide swath of the Bay, the local Nation’s was almost certainly one of the only places in town where you could order a slice of pie or a full breakfast plate at 1 or 2 o’clock in the morning.\u003c/p>\n\u003cp>So when we saw that the chain’s original location in San Pablo is still open 24/7, we knew we had to pay a visit. The restaurant opened in 1952 as a tiny, \u003ca href=\"https://nationsrestaurants.com/our-story\">six-stool hot dog counter\u003c/a> (originally called “\u003ca href=\"https://www.sfgate.com/food/article/Nations-Giant-Hamburgers-East-Bay-16211282.php\">Harvey’s\u003c/a>”). The current, and much larger, iteration of the building sits across the street from the (also 24-hour) San Pablo Lytton Casino, and when you pull up after dark, it looks very much like the image of the quintessential diner that I hold in my mind’s eye: a squat, brick-faced beacon in the night, all aglow with red and white neon.\u003c/p>\n\u003cfigure id=\"attachment_13958936\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg\" alt=\"Illustration: The exterior of a Nation's fast food burger restaurant, lit up in neon at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The original San Pablo location of Nation’s is still open 24/7. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Thursday night, the crowd inside was about 40% young families out late with their kids, 40% chatty high schoolers and 20% very hungry middle-aged men (salute to my people), with their diner breakfast plates \u003ci>and\u003c/i> chili con carne \u003ci>and\u003c/i> banana cream pie spread out on the table like some midcentury still life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than anything, it seemed to be a strictly locals kind of place – Nation’s, as a rule, is not much of a destination restaurant. “I guess you guys are from out of town,” the woman next to us in line said, laughing, not unkindly, when she saw us taking photos of the pie case and gawking at the menu with a little bit too much excitement.\u003c/p>\n\u003cp>If in doubt, you’ll probably just want to order a cheeseburger. So many Bay Area people talk up In-N-Out, our most celebrated SoCal import, that it’s easy to forget that Nation’s is the Bay’s own homegrown — and arguably superior — fast food burger chain.\u003c/p>\n\u003cp>A Nation’s cheeseburger has its own particular architecture. It has a surprising heft, mostly attributable to the thick, 5-ounce patty, but the main points of distinction are 1) the massive dollop of mayonnaise slathered underneath the patty and 2) the thick rounds of crunchy raw onion that provide a sharp counterpoint to the salty, fatty beef and cheese. (Ignore the wrongheaded people who try to convince you that it’s “too much onion.”) It’s a tasty, well-constructed burger — and if you’re feeling decadent, the fried egg and the uncommonly crispy bacon are both excellent add-ons.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958466,arts_13954597,arts_13956683","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>We found the rest of the menu to be a little bit hit or miss. The fries were mediocre. The onion rings, while piping hot, were crumbly and underseasoned, and fell apart when we tried to eat them. The Oreo milkshake, on the other hand, was fantastic, with the ideal, slurpable thickness. And the classic breakfast plates — available in One-Egger, Two-Egger and Three-Egger permutations — are as solid as they come for an after-midnight breakfast option, with properly runny fried eggs and more of that good bacon (even if the hash browns were a bit pale and limp).\u003c/p>\n\u003cp>Our apologies, though, that we’ve gone this far without talking about Nation’s second biggest claim to fame: its pies.To be more specific, the strawberry pies, which the chain sells each spring and early summer as part of a big seasonal promotion that also features strawberry pancakes, strawberry French toast, strawberry cheesecake and straight-up bowls of strawberries (the quaintest, and most Bay Area, option).\u003c/p>\n\u003cp>The stunner, though, is the individual-size strawberry tart: a fairly standard pie shell with a mound of whole, fresh strawberries piled probably six inches high, ringed with spray-can whipped cream and coated in goopy red glaze — a pleasing juxtaposition in the way it’s both natural \u003ci>and \u003c/i>unnatural. Despite the glop, the luxuriousness of this Nation’s pie is that you’re essentially just eating a whole pint’s worth of surprisingly sweet, ripe strawberries.\u003c/p>\n\u003cp>I suppose that’s Bay Area diner culture, in a nutshell. And to be able to eat such a pie, and such a burger, at 3 o’clock in the morning? It’s what makes Nation’s a Bay Area classic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com/\">\u003ci>Nation’s\u003c/i>\u003c/a>\u003ci> has 28 locations in Northern California, mostly concentrated in the East Bay (plus two in Texas). The original San Pablo location at 13296 San Pablo Dam Rd. is open 24/7.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo","authors":["11743","11904"],"categories":["arts_1","arts_12276"],"tags":["arts_21946","arts_22144","arts_5569","arts_10278","arts_1297","arts_8805","arts_22169","arts_21928"],"featImg":"arts_13958940","label":"source_arts_13958926"},"arts_13958101":{"type":"posts","id":"arts_13958101","meta":{"index":"posts_1716263798","site":"arts","id":"13958101","found":true},"guestAuthors":[],"slug":"naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","title":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","publishDate":1716906542,"format":"standard","headTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>[aside postid='arts_13953248']Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwy83i5XDx8\u003c/p>\n\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>[aside postid='arts_13954358']\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A documentary honors the model-turned-photographer who created some of America’s most iconic pin-up images.","status":"publish","parent":0,"modified":1716572614,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":912},"headData":{"title":"‘Naked Ambition’ Review: Bunny Yeager's Photo Legacy Lives on | KQED","description":"A documentary honors the model-turned-photographer who created some of America’s most iconic pin-up images.","ogTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","ogDescription":"","ogImgId":"","twTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","twDescription":"","twImgId":"","socialTitle":"‘Naked Ambition’ Review: Bunny Yeager's Photo Legacy Lives on %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","datePublished":"2024-05-28T07:29:02-07:00","dateModified":"2024-05-24T10:43:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958101/naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Iwy83i5XDx8'\n title='//www.youtube.com/embed/Iwy83i5XDx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958101/naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10772","arts_13672","arts_10278","arts_1201","arts_822","arts_769","arts_1386","arts_585"],"featImg":"arts_13958185","label":"arts_140"},"arts_13959079":{"type":"posts","id":"arts_13959079","meta":{"index":"posts_1716263798","site":"arts","id":"13959079","found":true},"guestAuthors":[],"slug":"photos-la-onda-festival-recap-napa","title":"PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa","publishDate":1717441015,"format":"standard","headTitle":"PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For decades, Los Ángeles Azules have opened their live performances with the refrain “de Iztapalapa para el mundo” (“from Iztapalapa to the world”), a message that reflects how their flavor of cumbia from Iztapalapa, Mexico City has become a global institution.\u003c/p>\n\u003cp>But at their Sunday performance at the first-ever Festival La Onda at the Napa Valley Expo, the group shared with the audience of thousands a slightly different message: “de Iztapalapa para Napa” — “from Iztapalapa to Napa.”\u003c/p>\n\u003cp>Indeed, Iztapalapa had reached Napa. And so had the Latin American diaspora. On June 1-2, La Onda filled Napa Valley with a star-studded lineup of Spanish-speaking artists. The creators of the event — the same team that produced \u003ca href=\"https://www.kqed.org/arts/13958567/bottlerock-2024-photo-highlights-recap\">BottleRock\u003c/a> just a week before — wanted to create a major music festival dedicated to the Latino community of the Bay Area.\u003c/p>\n\u003cp>And they succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13959000\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Farruko performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reggaetón star Farruko had the crowd jumping on Saturday with hits like “Pepas” and “La Tóxica.” Chilean indie artist Mon Laferte had fans in tears when she performed “Tu Falta de Querer” and “Si tú me quisieras.” Danna Paola — who began her career at just four years old on Mexican television and reached global fame after joining Netflix’s \u003cem>Élite\u003c/em> in 2018 — proclaimed the start of Pride month with “TQ Y YA,” a queer love anthem that proclaims in its chorus “amor es amor y que nadie se meta” (“love is love and nobody else needs to get involved”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival was truly blessed with its lineup of superstars from both rock en español and regional mexicano. Never has the Bay Area seen these two worlds come together so seamlessly. Rockero icons like Café Tacvba, Maná and Maldita Vecindad blasted timeless hits only a few couple hundred feet from where regional artists like Eslabón Armado, Junior H, Yahritza y su Esencia and La Arrolladora performed.\u003c/p>\n\u003cfigure id=\"attachment_13959059\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans at the festival were just as diverse as the genres represented on stage. Thousands of Latinos from all over the West Coast filled the Napa Valley Expo grounds. Perhaps only at \u003ca href=\"https://www.kqed.org/news/11987764/carnaval-san-francisco-celebrates-46-years-with-spectacular-mission-street-parade\">Carnaval San Francisco\u003c/a> do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.\u003c/p>\n\u003cp>While the majority of the crowd could be spotted with vaqueras and waving Mexican flags, there definitely were fans rocking Colombian vueltiao sombreros, Salvadoran jerseys and bandanas with Nicaraguan flags.\u003c/p>\n\u003cfigure id=\"attachment_13959058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Fuerza Regida perform at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt now that a festival featuring only Latino artists — playing music essentially only in Spanish — can succeed in the Bay Area.\u003c/p>\n\u003cp>And most importantly, the Latino community of the North Bay was very well represented. Over a third of Napa County’s population identifies as Latino and the region’s world famous wine industry, which brings billions of dollars in investment and tourism, depends on the labor of tens of thousands of Latino and Indigenous workers.\u003c/p>\n\u003cp>Natalie Arana, who lives in Napa County and came with her husband, says she immediately signed up for the ticket presale when she heard a Latino music festival was coming. “It made me very happy that they’re finally doing something for us because there’s so many of us here,” she said, and added that her whole family works in the wine industry. “We are honestly the ones that make this place run.”\u003c/p>\n\u003cp>Will she be coming back next year?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Of course! ¡Claro que sí!”\u003c/p>\n\u003cfigure id=\"attachment_13958997\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Danna Paola perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danna Paola performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958991\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mauricio Castro (center) dances with his friend at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959003\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959007\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esmeralda Figueroa (left) and her husband Jose Hurtado dance in front of the Verizon Stage as Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. The two live in Napa splurged on tickets to the festival to see Los Ángeles Azules. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959011\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Junior H performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959019\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the Verizon Stage sing along passionately as Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wear ponchos as temperatures drop at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959063\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the La Onda stage as Maná headlines La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959069\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Diaz Mota (center) enjoys Maná’s performance late into the night at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959071\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sways to the beat as Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959038\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers perform a traditional Aztec ceremony at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sara Velez (left) and her sister Bianett Velez proudly flaunt matching Maná shirts at La Onda festival on Sunday, June 2, 2024. The siblings traveled from Stockton to see Maná and attend their first festival together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959040\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959040\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch a lucha libre match during La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Napa resident Manuel De la Pena shouts with delight as he watches a lucha libre match at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees walk past Catrina sculptures, among the vibrant decorations honoring Latinx culture at La Onda festival on Sunday, June 2, 2024 at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enthusiastic fans in the front row of the Verizon Stage wave roses as Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Café Tacvba performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959064\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Latinos from all over the West Coast came to Napa to see Maná, Junior H, Los Ángeles Azules and more.","status":"publish","parent":0,"modified":1717442650,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1261},"headData":{"title":"PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa | KQED","description":"Latinos from all over the West Coast came to Napa to see Maná, Junior H, Los Ángeles Azules and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa","datePublished":"2024-06-03T11:56:55-07:00","dateModified":"2024-06-03T12:24:10-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959079","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959079/photos-la-onda-festival-recap-napa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Los Ángeles Azules have opened their live performances with the refrain “de Iztapalapa para el mundo” (“from Iztapalapa to the world”), a message that reflects how their flavor of cumbia from Iztapalapa, Mexico City has become a global institution.\u003c/p>\n\u003cp>But at their Sunday performance at the first-ever Festival La Onda at the Napa Valley Expo, the group shared with the audience of thousands a slightly different message: “de Iztapalapa para Napa” — “from Iztapalapa to Napa.”\u003c/p>\n\u003cp>Indeed, Iztapalapa had reached Napa. And so had the Latin American diaspora. On June 1-2, La Onda filled Napa Valley with a star-studded lineup of Spanish-speaking artists. The creators of the event — the same team that produced \u003ca href=\"https://www.kqed.org/arts/13958567/bottlerock-2024-photo-highlights-recap\">BottleRock\u003c/a> just a week before — wanted to create a major music festival dedicated to the Latino community of the Bay Area.\u003c/p>\n\u003cp>And they succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13959000\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Farruko performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reggaetón star Farruko had the crowd jumping on Saturday with hits like “Pepas” and “La Tóxica.” Chilean indie artist Mon Laferte had fans in tears when she performed “Tu Falta de Querer” and “Si tú me quisieras.” Danna Paola — who began her career at just four years old on Mexican television and reached global fame after joining Netflix’s \u003cem>Élite\u003c/em> in 2018 — proclaimed the start of Pride month with “TQ Y YA,” a queer love anthem that proclaims in its chorus “amor es amor y que nadie se meta” (“love is love and nobody else needs to get involved”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival was truly blessed with its lineup of superstars from both rock en español and regional mexicano. Never has the Bay Area seen these two worlds come together so seamlessly. Rockero icons like Café Tacvba, Maná and Maldita Vecindad blasted timeless hits only a few couple hundred feet from where regional artists like Eslabón Armado, Junior H, Yahritza y su Esencia and La Arrolladora performed.\u003c/p>\n\u003cfigure id=\"attachment_13959059\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans at the festival were just as diverse as the genres represented on stage. Thousands of Latinos from all over the West Coast filled the Napa Valley Expo grounds. Perhaps only at \u003ca href=\"https://www.kqed.org/news/11987764/carnaval-san-francisco-celebrates-46-years-with-spectacular-mission-street-parade\">Carnaval San Francisco\u003c/a> do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.\u003c/p>\n\u003cp>While the majority of the crowd could be spotted with vaqueras and waving Mexican flags, there definitely were fans rocking Colombian vueltiao sombreros, Salvadoran jerseys and bandanas with Nicaraguan flags.\u003c/p>\n\u003cfigure id=\"attachment_13959058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Fuerza Regida perform at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt now that a festival featuring only Latino artists — playing music essentially only in Spanish — can succeed in the Bay Area.\u003c/p>\n\u003cp>And most importantly, the Latino community of the North Bay was very well represented. Over a third of Napa County’s population identifies as Latino and the region’s world famous wine industry, which brings billions of dollars in investment and tourism, depends on the labor of tens of thousands of Latino and Indigenous workers.\u003c/p>\n\u003cp>Natalie Arana, who lives in Napa County and came with her husband, says she immediately signed up for the ticket presale when she heard a Latino music festival was coming. “It made me very happy that they’re finally doing something for us because there’s so many of us here,” she said, and added that her whole family works in the wine industry. “We are honestly the ones that make this place run.”\u003c/p>\n\u003cp>Will she be coming back next year?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Of course! ¡Claro que sí!”\u003c/p>\n\u003cfigure id=\"attachment_13958997\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Danna Paola perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danna Paola performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958991\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mauricio Castro (center) dances with his friend at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959003\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959007\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esmeralda Figueroa (left) and her husband Jose Hurtado dance in front of the Verizon Stage as Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. The two live in Napa splurged on tickets to the festival to see Los Ángeles Azules. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959011\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Junior H performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959019\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the Verizon Stage sing along passionately as Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wear ponchos as temperatures drop at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959063\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the La Onda stage as Maná headlines La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959069\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Diaz Mota (center) enjoys Maná’s performance late into the night at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959071\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sways to the beat as Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959038\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers perform a traditional Aztec ceremony at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sara Velez (left) and her sister Bianett Velez proudly flaunt matching Maná shirts at La Onda festival on Sunday, June 2, 2024. The siblings traveled from Stockton to see Maná and attend their first festival together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959040\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959040\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch a lucha libre match during La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Napa resident Manuel De la Pena shouts with delight as he watches a lucha libre match at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees walk past Catrina sculptures, among the vibrant decorations honoring Latinx culture at La Onda festival on Sunday, June 2, 2024 at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enthusiastic fans in the front row of the Verizon Stage wave roses as Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Café Tacvba performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959064\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959079/photos-la-onda-festival-recap-napa","authors":["11708"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_21763","arts_1855","arts_769"],"featImg":"arts_13959013","label":"arts"},"arts_13959026":{"type":"posts","id":"arts_13959026","meta":{"index":"posts_1716263798","site":"arts","id":"13959026","found":true},"guestAuthors":[],"slug":"innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho","title":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","publishDate":1717444131,"format":"standard","headTitle":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n","blocks":[],"excerpt":"Probing the lasting agony caused by a school shooting, ‘Innocence’ is an unforgettable triumph.","status":"publish","parent":0,"modified":1717539906,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1010},"headData":{"title":"‘Innocence’ at SF Opera: A Masterwork About a School Shooting | KQED","description":"Probing the lasting agony caused by a school shooting, ‘Innocence’ is an unforgettable triumph.","ogTitle":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","ogDescription":"","ogImgId":"","twTitle":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","twDescription":"","twImgId":"","socialTitle":"‘Innocence’ at SF Opera: A Masterwork About a School Shooting %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","datePublished":"2024-06-03T12:48:51-07:00","dateModified":"2024-06-04T15:25:06-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959026","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959026/innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959026/innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_1312","arts_10278","arts_3081","arts_1146","arts_22172","arts_3316","arts_585","arts_22171"],"featImg":"arts_13959110","label":"arts_140"},"arts_13958713":{"type":"posts","id":"arts_13958713","meta":{"index":"posts_1716263798","site":"arts","id":"13958713","found":true},"guestAuthors":[],"slug":"san-jose-foos-chris-villa-tacos-music-festival","title":"This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose","publishDate":1717513227,"format":"standard","headTitle":"This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose | KQED","labelTerm":{},"content":"\u003cp>South Almaden Avenue is a long stretch of pavement that runs through a scrappy, historic neighborhood on the southern edge of San Jose’s downtown. It’s the kind of barrio you can visit at any hour to find some of the Bay Area’s most homey tacos while vatos circle the block on bicycles and inside minivans. It’s also where you’ll find\u003ca href=\"https://www.instagram.com/rosarios_tacos/?hl=en\"> Rosario’s Tacos\u003c/a>, a no-frills taqueria that started inside a garage before moving to its current brick-and-mortar location in 2022.\u003c/p>\n\u003cp>The gregarious owner, Joe, is an embodiment of San Jose’s low-riding Chicano spirit — a proud father with a full-bellied laugh and cynical sense of humor who refuses to give up on his community. The restaurant is named after his late mother, Rosario, whose recipes Joe has adapted to create the restaurant’s beloved quesabirria — a red-drenched behemoth of a taco, dripping with consomme, birria, cheese and (if desired) plump, succulent shrimp.\u003c/p>\n\u003cp>Rosario’s generous portion sizes and undiluted hometown pride are what attract one of Shark City’s biggest foodies:\u003ca href=\"https://www.instagram.com/chrisillmatic/?hl=en\"> Chris Villa\u003c/a>. As the face of\u003ca href=\"https://www.instagram.com/sanjosefoos/?hl=en\"> San Jose Foos\u003c/a> — the 408’s most culturally influential social media empire, with over 226,000 followers on Instagram — Villa has been going to Rosario’s for years and chose it as our rendezvous point on a sunny South Bay afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13958803\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg\" alt=\"a table of tacos and flyers for a music festival\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Foos is helping to coordinate the city’s first-ever Latin house music festival at Discovery Meadow Park on June 15. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not food-specific, the page — which Villa co-facilitates with \u003ca href=\"https://www.metrosiliconvalley.com/san-jose-foos-become-a-much-needed-voice-for-san-jose-culture/\">San Jose Foos founder, Jorge Anthony Gomez\u003c/a> — uplifts a variety of San Jose-owned businesses like Rosario’s. Their popular, insider-y memes and videos highlight small, family-run, genuinely under-appreciated and off-the-radar locales that otherwise go unnoticed by the Bay Area mainstream. Villa has been involved with the account for four years and recently left his job at Apple to pursue his creativity full-time.\u003c/p>\n\u003cp>In their biggest effort to continue building the city’s cultural profile, San Jose Foos are launching a new music festival: \u003ca href=\"https://www.instagram.com/p/C7AhHO0Pucw/?hl=en\">Taraka\u003c/a>. Headlined by\u003ca href=\"https://www.instagram.com/gordoszn/?hl=en\"> Nicaraguan super producer and DJ, Gordo\u003c/a>, and featuring a cast of eleven Latin American house music DJs, the festival will be the only one of its kind in the region (\u003ca href=\"https://www.kqed.org/arts/13865311/how-sonido-clash-music-fest-became-a-hub-for-forward-thinking-latinx-sounds\">Sonido Clash, the alternative Latinx music festival\u003c/a> that was once held in San Jose, has been discontinued since the pandemic).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After ordering close to 20 tacos — which we divvied up, each taking home leftovers — Villa and I ate ourselves into a peaceful state of higher consciousness while chatting about Silicon Valley’s joys, complexities and upcoming food and music takeover.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13958806\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958806\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg\" alt=\"birria tacos on a grill at a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The quesabirria tacos are a main attraction at Rosario’s. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: You chose this spot as our meeting point. What does Rosario’s Tacos mean to you? [mariachi music blares in the background]\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris Villa: \u003c/b>I’ve known about this spot for the longest. It’s a San Jose staple. It’s one of those spots that everyone in San Jose goes to. I’ve built a rapport with Joe [the owner] because of what he does and what he has contributed to the community. He has a presence here. And the food is delicious. This isn’t a gentrified spot, but you’ll still see every culture here. A group of Indian foodies recently made a video. That’s really cool to see. And Joe doesn’t want to go anywhere. He wants to stay right here in San Jose. That gives people a sense of pride. You can’t hate on that, you know?\u003c/p>\n\u003cp>\u003cb>I feel that. Have you eaten the Godzilla Taco here? The menu says it’s a 14-inch quesabirria taco. It crossed my mind.\u003c/b>\u003c/p>\n\u003cp>Yeah, I have. I can’t finish it [laughs].\u003c/p>\n\u003cfigure id=\"attachment_13958804\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg\" alt=\"a kitchen cook prepares meat for birria tacos\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rosario’s Tacos uses family recipes from the owner’s late mother, Rosario, to make some of the best quesabirria in San Jose. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>There are a lot of solid taquerias in this area. I remember eating around here when I was a teenager, and a group of gang members got out of their car and approached the people I was with because of some of the colors they were wearing. But the tacos were so damn good that I kept coming back. Did you grow up in this part of the city?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13958336,arts_13958466,arts_13920483']\u003c/span>I grew up on the south side of San Jose. We used to stay away from this area growing up because of what it is, you know [laughs]. Where I lived was like the opposite gang, but I wasn’t affiliated or anything like that. Before all the Instagram stuff, I’ve always been cool with everyone. Just going out and saying what’s up to all the homies. That’s just the Bay.\u003c/p>\n\u003cp>\u003cb>How did you start working with San Jose Foos, and what’s your involvement?\u003c/b>\u003c/p>\n\u003cp>I partnered with my homie, Anthony [Gomez]. He’s the one who started it; I’m considered the face of it, and I’m in some of the videos. I also help with scheduling, shooting, editing and stuff like that as much as needed. I started a few years ago right after COVID [emerged] in 2020. After all that was going on, that’s when I jumped on board, and I was like, hey, you know, it’s a lot of fighting hate with hate. We wanted to make it a love thing. Support our community. Support local businesses however we can. We were at maybe 10,000 followers at the time, and it still made a difference. And from then it blew up from just telling people to check out this spot, go look at this artist, sharing San Jose staples that you got to know. It became more about that. Local history, culture.\u003c/p>\n\u003cfigure id=\"attachment_13958805\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg\" alt=\"a mural that reads "Rosario's Tacos San Jose" inside a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A mural inside the taqueria reflects the owner’s hometown Chicano pride. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Is that cultural representation something you think San Jose was lacking at the time — or is maybe still lacking?\u003c/b>\u003c/p>\n\u003cp>It was missing for the longest. San Jose hasn’t always been shown the same love as San Francisco and Oakland. We wanted to pivot and put San Jose on the map in different ways. That was the goal. We want to make people laugh, too [laughs]. This is my favorite horchata in San Jose, by the way [sips horchata].\u003c/p>\n\u003cp>\u003cb>You’re helping launch a new festival in San Jose. That’s a big deal. How’s that going?\u003c/b>\u003c/p>\n\u003cp>It’s huge. The first of its kind here in San Jose. They’re going to start building the stage. We’ve always wanted to do something big, festival wise. We’ve been mapping things out. Gordo is a dope artist. I’ve always been a fan of his, so when I heard we’re bringing him out I was like yo, that’s crazy.\u003c/p>\n\u003cfigure id=\"attachment_13958808\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg\" alt=\"a journalist eating a taco\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">KQED food journalist Alan Chazaro listens in as Chris Villa talks about San Jose’s cultural riches. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your role in the festival?\u003c/b>\u003c/p>\n\u003cp>I’m helping facilitate, mainly with the vendors. Making sure everyone’s good. I’ve been running around, wearing a few hats. It’ll all be at Discovery Meadows [the park outside the Children’s Discovery Museum of San Jose]. We have a friend who organizes events, and they’re really good at putting things together and getting the permits and things like that, so they took care of all that. We’ve done events before, but not this size. It’s gonna be good. It’s a large event being held in San Jose at a venue that not many people know about. The last big event that happened there was with Logic. He held a free event there. Hella random.\u003c/p>\n\u003cp>\u003cb>Who’s going to be there?\u003c/b>\u003c/p>\n\u003cp>Live DJs will be going on from 2 to 9 on one stage. Gordo, Lee Foss, Malóne, Maneki. Nico Crespo from San Jose. He’s actually my best friend’s cousin and he’s been doing it big in the house and techno scene. It’s 11 Latin American house music DJs in total.\u003ca href=\"https://www.instagram.com/brownnproudla/?hl=en\"> Brown N Proud\u003c/a> LA is doing an SJ collab. He’s a clothing guy; [the clothing brand] Foos Gone Wild has partnered up with him before. But it’s mostly San Jose people:\u003ca href=\"https://www.instagram.com/shrimpn_aint_eazy/?hl=en\"> Shrimpin Ain’t Eazy\u003c/a>, \u003ca href=\"https://www.instagram.com/popupsj/?hl=en\">Pop Up SJ\u003c/a>, \u003ca href=\"https://www.instagram.com/mrshrimpsj/\">Mr. Shrimp\u003c/a>. Food trucks, thrifters, clothing brands. Our own stuff.\u003c/p>\n\u003cfigure id=\"attachment_13958809\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg\" alt=\"three people sit in front of a taqueria during lunch\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chris Vilal (left), Alan Chazaro (center) and Rosario’s Tacos owner, Joe (right), discuss San Jose’s artistic community. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your philosophy on what San Jose could be doing better moving forward?\u003c/b>\u003c/p>\n\u003cp>The biggest thing I see in San Jose is people fighting against each other, making everything a competition. [San Jose Foos] never saw it that way. We want to partner up with whoever wants to make a difference, big or small. Artists, photographers, any of that. One of the organizations we help out is\u003ca href=\"https://www.instagram.com/adopt_my_block/?hl=en\"> Adopt My Block\u003c/a>. They’re about adopting dogs, sheltering dogs. We reached out to them. It’s run by\u003ca href=\"https://www.kqed.org/arts/13839650/on-3rtys-veteran-san-jose-battle-rapper-dirtbag-dan-reveals-his-introspective-side\"> Dirtbag Dan\u003c/a>, one of [San Jose’s] old school battle rappers. We want to show that love to our city.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Taraka with Gordo’ will take place at Discovery Meadow Park (180 Woz Way, San Jose) on Sat., June 15 from 2 to 9 p.m. Tickets available \u003ca href=\"https://www.eventbrite.com/e/taraka-san-jose-w-gordo-more-tba-tickets-891379388747?aff=aff0bandsintown&comeFrom=2500&artist_event_id=1031776474&bit_userid=%24%7Buser_id%7D&appId=onaqfvagbja_jro\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"San Jose Foos’ Chris Villa breaks down Silicon Valley’s upcoming Latin American electronic music festival and where he goes to get his favorite tacos.\r\n","status":"publish","parent":0,"modified":1717524370,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1671},"headData":{"title":"San Jose Foos Is Throwing a Huge New Latin Music Festival | KQED","description":"San Jose Foos’ Chris Villa breaks down Silicon Valley’s upcoming Latin American electronic music festival and where he goes to get his favorite tacos.\r\n","ogTitle":"This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose","ogDescription":"","ogImgId":"","twTitle":"This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose","twDescription":"","twImgId":"","socialTitle":"San Jose Foos Is Throwing a Huge New Latin Music Festival %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose","datePublished":"2024-06-04T08:00:27-07:00","dateModified":"2024-06-04T11:06:10-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"¡HELLA HUNGRY!","sourceUrl":"https://www.kqed.org/hellahungry","sticky":false,"nprStoryId":"kqed-13958713","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958713/san-jose-foos-chris-villa-tacos-music-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>South Almaden Avenue is a long stretch of pavement that runs through a scrappy, historic neighborhood on the southern edge of San Jose’s downtown. It’s the kind of barrio you can visit at any hour to find some of the Bay Area’s most homey tacos while vatos circle the block on bicycles and inside minivans. It’s also where you’ll find\u003ca href=\"https://www.instagram.com/rosarios_tacos/?hl=en\"> Rosario’s Tacos\u003c/a>, a no-frills taqueria that started inside a garage before moving to its current brick-and-mortar location in 2022.\u003c/p>\n\u003cp>The gregarious owner, Joe, is an embodiment of San Jose’s low-riding Chicano spirit — a proud father with a full-bellied laugh and cynical sense of humor who refuses to give up on his community. The restaurant is named after his late mother, Rosario, whose recipes Joe has adapted to create the restaurant’s beloved quesabirria — a red-drenched behemoth of a taco, dripping with consomme, birria, cheese and (if desired) plump, succulent shrimp.\u003c/p>\n\u003cp>Rosario’s generous portion sizes and undiluted hometown pride are what attract one of Shark City’s biggest foodies:\u003ca href=\"https://www.instagram.com/chrisillmatic/?hl=en\"> Chris Villa\u003c/a>. As the face of\u003ca href=\"https://www.instagram.com/sanjosefoos/?hl=en\"> San Jose Foos\u003c/a> — the 408’s most culturally influential social media empire, with over 226,000 followers on Instagram — Villa has been going to Rosario’s for years and chose it as our rendezvous point on a sunny South Bay afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13958803\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg\" alt=\"a table of tacos and flyers for a music festival\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Foos is helping to coordinate the city’s first-ever Latin house music festival at Discovery Meadow Park on June 15. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not food-specific, the page — which Villa co-facilitates with \u003ca href=\"https://www.metrosiliconvalley.com/san-jose-foos-become-a-much-needed-voice-for-san-jose-culture/\">San Jose Foos founder, Jorge Anthony Gomez\u003c/a> — uplifts a variety of San Jose-owned businesses like Rosario’s. Their popular, insider-y memes and videos highlight small, family-run, genuinely under-appreciated and off-the-radar locales that otherwise go unnoticed by the Bay Area mainstream. Villa has been involved with the account for four years and recently left his job at Apple to pursue his creativity full-time.\u003c/p>\n\u003cp>In their biggest effort to continue building the city’s cultural profile, San Jose Foos are launching a new music festival: \u003ca href=\"https://www.instagram.com/p/C7AhHO0Pucw/?hl=en\">Taraka\u003c/a>. Headlined by\u003ca href=\"https://www.instagram.com/gordoszn/?hl=en\"> Nicaraguan super producer and DJ, Gordo\u003c/a>, and featuring a cast of eleven Latin American house music DJs, the festival will be the only one of its kind in the region (\u003ca href=\"https://www.kqed.org/arts/13865311/how-sonido-clash-music-fest-became-a-hub-for-forward-thinking-latinx-sounds\">Sonido Clash, the alternative Latinx music festival\u003c/a> that was once held in San Jose, has been discontinued since the pandemic).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After ordering close to 20 tacos — which we divvied up, each taking home leftovers — Villa and I ate ourselves into a peaceful state of higher consciousness while chatting about Silicon Valley’s joys, complexities and upcoming food and music takeover.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13958806\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958806\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg\" alt=\"birria tacos on a grill at a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The quesabirria tacos are a main attraction at Rosario’s. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: You chose this spot as our meeting point. What does Rosario’s Tacos mean to you? [mariachi music blares in the background]\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris Villa: \u003c/b>I’ve known about this spot for the longest. It’s a San Jose staple. It’s one of those spots that everyone in San Jose goes to. I’ve built a rapport with Joe [the owner] because of what he does and what he has contributed to the community. He has a presence here. And the food is delicious. This isn’t a gentrified spot, but you’ll still see every culture here. A group of Indian foodies recently made a video. That’s really cool to see. And Joe doesn’t want to go anywhere. He wants to stay right here in San Jose. That gives people a sense of pride. You can’t hate on that, you know?\u003c/p>\n\u003cp>\u003cb>I feel that. Have you eaten the Godzilla Taco here? The menu says it’s a 14-inch quesabirria taco. It crossed my mind.\u003c/b>\u003c/p>\n\u003cp>Yeah, I have. I can’t finish it [laughs].\u003c/p>\n\u003cfigure id=\"attachment_13958804\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg\" alt=\"a kitchen cook prepares meat for birria tacos\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rosario’s Tacos uses family recipes from the owner’s late mother, Rosario, to make some of the best quesabirria in San Jose. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>There are a lot of solid taquerias in this area. I remember eating around here when I was a teenager, and a group of gang members got out of their car and approached the people I was with because of some of the colors they were wearing. But the tacos were so damn good that I kept coming back. Did you grow up in this part of the city?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958336,arts_13958466,arts_13920483","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I grew up on the south side of San Jose. We used to stay away from this area growing up because of what it is, you know [laughs]. Where I lived was like the opposite gang, but I wasn’t affiliated or anything like that. Before all the Instagram stuff, I’ve always been cool with everyone. Just going out and saying what’s up to all the homies. That’s just the Bay.\u003c/p>\n\u003cp>\u003cb>How did you start working with San Jose Foos, and what’s your involvement?\u003c/b>\u003c/p>\n\u003cp>I partnered with my homie, Anthony [Gomez]. He’s the one who started it; I’m considered the face of it, and I’m in some of the videos. I also help with scheduling, shooting, editing and stuff like that as much as needed. I started a few years ago right after COVID [emerged] in 2020. After all that was going on, that’s when I jumped on board, and I was like, hey, you know, it’s a lot of fighting hate with hate. We wanted to make it a love thing. Support our community. Support local businesses however we can. We were at maybe 10,000 followers at the time, and it still made a difference. And from then it blew up from just telling people to check out this spot, go look at this artist, sharing San Jose staples that you got to know. It became more about that. Local history, culture.\u003c/p>\n\u003cfigure id=\"attachment_13958805\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg\" alt=\"a mural that reads "Rosario's Tacos San Jose" inside a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A mural inside the taqueria reflects the owner’s hometown Chicano pride. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Is that cultural representation something you think San Jose was lacking at the time — or is maybe still lacking?\u003c/b>\u003c/p>\n\u003cp>It was missing for the longest. San Jose hasn’t always been shown the same love as San Francisco and Oakland. We wanted to pivot and put San Jose on the map in different ways. That was the goal. We want to make people laugh, too [laughs]. This is my favorite horchata in San Jose, by the way [sips horchata].\u003c/p>\n\u003cp>\u003cb>You’re helping launch a new festival in San Jose. That’s a big deal. How’s that going?\u003c/b>\u003c/p>\n\u003cp>It’s huge. The first of its kind here in San Jose. They’re going to start building the stage. We’ve always wanted to do something big, festival wise. We’ve been mapping things out. Gordo is a dope artist. I’ve always been a fan of his, so when I heard we’re bringing him out I was like yo, that’s crazy.\u003c/p>\n\u003cfigure id=\"attachment_13958808\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg\" alt=\"a journalist eating a taco\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">KQED food journalist Alan Chazaro listens in as Chris Villa talks about San Jose’s cultural riches. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your role in the festival?\u003c/b>\u003c/p>\n\u003cp>I’m helping facilitate, mainly with the vendors. Making sure everyone’s good. I’ve been running around, wearing a few hats. It’ll all be at Discovery Meadows [the park outside the Children’s Discovery Museum of San Jose]. We have a friend who organizes events, and they’re really good at putting things together and getting the permits and things like that, so they took care of all that. We’ve done events before, but not this size. It’s gonna be good. It’s a large event being held in San Jose at a venue that not many people know about. The last big event that happened there was with Logic. He held a free event there. Hella random.\u003c/p>\n\u003cp>\u003cb>Who’s going to be there?\u003c/b>\u003c/p>\n\u003cp>Live DJs will be going on from 2 to 9 on one stage. Gordo, Lee Foss, Malóne, Maneki. Nico Crespo from San Jose. He’s actually my best friend’s cousin and he’s been doing it big in the house and techno scene. It’s 11 Latin American house music DJs in total.\u003ca href=\"https://www.instagram.com/brownnproudla/?hl=en\"> Brown N Proud\u003c/a> LA is doing an SJ collab. He’s a clothing guy; [the clothing brand] Foos Gone Wild has partnered up with him before. But it’s mostly San Jose people:\u003ca href=\"https://www.instagram.com/shrimpn_aint_eazy/?hl=en\"> Shrimpin Ain’t Eazy\u003c/a>, \u003ca href=\"https://www.instagram.com/popupsj/?hl=en\">Pop Up SJ\u003c/a>, \u003ca href=\"https://www.instagram.com/mrshrimpsj/\">Mr. Shrimp\u003c/a>. Food trucks, thrifters, clothing brands. Our own stuff.\u003c/p>\n\u003cfigure id=\"attachment_13958809\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg\" alt=\"three people sit in front of a taqueria during lunch\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chris Vilal (left), Alan Chazaro (center) and Rosario’s Tacos owner, Joe (right), discuss San Jose’s artistic community. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your philosophy on what San Jose could be doing better moving forward?\u003c/b>\u003c/p>\n\u003cp>The biggest thing I see in San Jose is people fighting against each other, making everything a competition. [San Jose Foos] never saw it that way. We want to partner up with whoever wants to make a difference, big or small. Artists, photographers, any of that. One of the organizations we help out is\u003ca href=\"https://www.instagram.com/adopt_my_block/?hl=en\"> Adopt My Block\u003c/a>. They’re about adopting dogs, sheltering dogs. We reached out to them. It’s run by\u003ca href=\"https://www.kqed.org/arts/13839650/on-3rtys-veteran-san-jose-battle-rapper-dirtbag-dan-reveals-his-introspective-side\"> Dirtbag Dan\u003c/a>, one of [San Jose’s] old school battle rappers. We want to show that love to our city.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Taraka with Gordo’ will take place at Discovery Meadow Park (180 Woz Way, San Jose) on Sat., June 15 from 2 to 9 p.m. Tickets available \u003ca href=\"https://www.eventbrite.com/e/taraka-san-jose-w-gordo-more-tba-tickets-891379388747?aff=aff0bandsintown&comeFrom=2500&artist_event_id=1031776474&bit_userid=%24%7Buser_id%7D&appId=onaqfvagbja_jro\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958713/san-jose-foos-chris-villa-tacos-music-festival","authors":["11748"],"categories":["arts_1","arts_12276","arts_69"],"tags":["arts_10278","arts_17573","arts_14985","arts_1694","arts_14062","arts_1084","arts_3001","arts_2137","arts_14984"],"featImg":"arts_13958859","label":"source_arts_13958713"},"arts_13958886":{"type":"posts","id":"arts_13958886","meta":{"index":"posts_1716263798","site":"arts","id":"13958886","found":true},"guestAuthors":[],"slug":"joshua-mays-olgaruth-oakland-artist-profile","title":"Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’","publishDate":1717445444,"format":"standard","headTitle":"Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Walking into the Oakland studio of \u003ca href=\"https://www.instagram.com/p/C7Sbj7qvSKd/?hl=en\">Joshua Mays\u003c/a> feels like entering another world. Colorful, fantastical portraits of characters cover almost every inch of the space, hanging from clothes lines or leaning against walls. Two door-length, painted masks are sculpted from cardboard and brown Kraft paper. Life-size green and purple paper vines hang from the ceiling.\u003c/p>\n\u003cp>And Mays is indeed building a new world — specifically, a fictional city filled with technological innovations known for its talented visionaries. It’s called Olgaruth.\u003c/p>\n\u003cp>“The city of Olgaruth is me defining and refining all the ways that I think being alive is cool and awesome and colorful and delicious and truly inspiring,” says Mays, who combined his grandmothers’ names, Olgar and Ruth, to create the city’s moniker.\u003c/p>\n\u003cp>The public is invited to get to know parts of Olgaruth and its main characters at a free pop-up exhibit titled \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">\u003ci>Portal 002\u003c/i>\u003c/a> at the Oakland nonprofit Beats, Rhymes and Life, starting June 7. It’s the second in a series of traveling, limited-run shows about Olgaruth that Mays has planned for the Bay Area and beyond. (The \u003ca href=\"https://www.instagram.com/reel/C5glZLAvWTO/?\">first installment\u003c/a> popped up at Oakland’s Aman Cafe in April.)\u003c/p>\n\u003cfigure id=\"attachment_13957766\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg\" alt=\"Black man leans over desk with pen in hand, materials behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ve perhaps seen some of Mays’ art nouveau-style, anime-inspired work when walking around Oakland, where he’s lived for the past 15 years and has painted \u003ca href=\"https://www.instagram.com/p/Bg1rVQTjAo6/?\">a number of public murals\u003c/a>. The most prominent one, called \u003ca href=\"https://www.instagram.com/p/CrjD2hgJgJ5/?hl=en&img_index=1\">\u003ci>Beacon Frequency Reader\u003c/i>\u003c/a>, adorns the side of 1700 Broadway in downtown Oakland and features a character from his growing Olgaruth world. He has also painted murals in Denver (his hometown); Philadelphia; Portland; Washington, D.C.; Johannesburg; London; Mexico City; and Jakarta.\u003c/p>\n\u003cp>Mays was drawn to the Bay Area because of its vibrant artist community and proximity to the tech industry. “The idea of meeting up with other weirdos who are doing things that haven’t been done before was super exciting,” Mays says.\u003c/p>\n\u003cp>He first dove into the idea of Olgaruth during the pandemic, when many of his client-based projects shut down. With his time freed up, he began to explore certain characters and motifs in his work more deeply. Existing paintings beckoned him to take things further and “get really weird with the possibilities,” he says.\u003c/p>\n\u003cp>“I literally looked at one of my pieces where there was a landscape unfolding, and I sat down and drew that section of that painting onto a map and then expanded it,” Mays explains. “There was a river and I just flowed further up the river and then broke that down into a topographical landscape, and then broke it down into 31 districts and named it Olgaruth.”\u003c/p>\n\u003cfigure id=\"attachment_13957769\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg\" alt=\"Two brightly colored map paintings showing regions of a landscape\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Maps of Olgaruth in Mays’ Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Now entering Olgaruth\u003c/h2>\n\u003cp>Since unlocking the door to Olgaruth in his imagination, Mays has been avidly designing its sci-fi cityscapes, producing its soundscapes and plotting numerous storylines.\u003c/p>\n\u003cp>“I’ve been watching a lot of video game play on YouTube,” Mays says. “And that made me look at my paintings and decide that they are storyboards for video gaming possibilities and for animated streaming.”\u003c/p>\n\u003cp>The first storyline he’s introducing in these early exhibits, including the upcoming \u003ci>Portal 002\u003c/i>, is titled “Savants of the Spore.”\u003c/p>\n\u003cp>In it, an awakened spore imparts all its knowledge to a select population of children — the savants — who “grow up to be brilliantly aware, yet socially limited, visionaries,” Mays says. The spore also guides a team of researchers and engineers to access innovations from the future, which come to define Olgaruth’s economy and culture.\u003c/p>\n\u003cfigure id=\"attachment_13958888\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg\" alt=\"A digital illustration of a sci-fi cityscape.\" width=\"1500\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-768x576.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-caption-text\">An Olgaruth cityscape. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three main characters are Montrose Calcot, a bio-engineer and restaurateur with restaurant locations in three districts; Cresta Canon, a professional athlete and competitive video gamer who invented Takal, Olgaruth’s top sport; and Ines Ardley, a recording artist, AI programmer and hacker who went missing while hacking Olgaruth media and communications.\u003c/p>\n\u003cp>They are all Black women, who are recurring subjects in Mays’ work.\u003c/p>\n\u003cfigure id=\"attachment_13959143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg\" alt=\"Colorful digital magazine covers of two Black woman characters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">‘Savants of the Spore’ characters Montrose Calcot (left) and Ines Ardley (right). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olgaruth’s 31 ground-level districts include names like Xanadu, Deephaven, Kalamath and Argonne — all inspired by the names of actual streets from neighborhoods in Denver, Philadelphia and Oakland. An additional seven districts (yet to be revealed) float in the air.\u003c/p>\n\u003cp>For the city’s soundtrack, Mays collaborated with an old high school friend, music producer \u003ca href=\"https://www.instagram.com/playeronebeats\">Troy Tolbert\u003c/a> as the duo Color Codes. In the Olgaruth storyline, they were commissioned by the Olgaruthian Provincial Transit Authority (OPTA) to produce audio tours and music mixes for the transit system.\u003c/p>\n\u003cp>In “ROUGE 168,” you hear the sounds of a bustling urban intersection; a voice announces “you are at Xanadu Station” before various, mostly hip hop-driven beats take over on the way to other stops.\u003c/p>\n\u003cp>https://youtu.be/jfydOF9oMfI?si=L65D5uLN0OpfkUOi\u003c/p>\n\u003ch2>‘I love that I’m facing in this direction’\u003c/h2>\n\u003cp>Building the city of Olgaruth and creating its folklore has been extremely fulfilling for Mays, who says he’s been leaning into his creative flow and trusting his instincts during studio time.\u003c/p>\n\u003cp>“I love tuning in to what comes up next and [thinking about] how I add to the last session’s possibilities,” Mays says. “Like, I have no idea what’s going to happen and that feels great.”\u003c/p>\n\u003cp>In addition to the \u003ci>Portals\u003c/i> exhibits, he plans to eventually pitch Olgaruth to animation studios and video game developers. He also envisions collaborations and brand sponsorships in fashion and music.\u003c/p>\n\u003cfigure id=\"attachment_13957765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg\" alt=\"Hands over an intricate ink drawing\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This can go in 150 different directions. And this \u003ci>is\u003c/i> going to go in 150 different directions,” Mays says.\u003c/p>\n\u003cp>If his vision sounds grand, that’s the point. Decades into his career, Mays feels like he’s found his magnum opus, and he’s not shying away from his ambitions.\u003c/p>\n\u003cp>“It is the culmination of many [of my] inner children that have just been given permission to be themselves and to realize that there’s tremendous value in that,” he says.\u003c/p>\n\u003cp>Mays, who’s known to sprinkle motivational musings \u003ca href=\"https://www.instagram.com/reel/C7ZKHEWRmre/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">on his Instagram account\u003c/a> from time to time, also hopes Olgaruth and his \u003ci>Portals\u003c/i> shows will inspire others to feel less afraid to pursue their boldest ideas. He wants everyone to experience the kind of gratitude he’s feeling on this passion-filled, purposeful journey.\u003c/p>\n\u003cfigure id=\"attachment_13957777\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg\" alt=\"Black man with glasses sits in a room filled with bright paintings and drawings\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If I get hit by a bus tomorrow, I love that I’m facing in this direction — towards my highest, happiest, most joyful, empowered self.”\u003c/p>\n\u003cp>Where all signs point to Olgaruth.\u003c/p>\n\u003chr />\n\u003cp>\u003ci>‘Portal 002’ is on view June 7–11, 2024 at Beats, Rhymes and Life (450 Santa Clara Ave., Oakland). The opening reception takes place at 6 p.m. on June 7. More information \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">here\u003c/a>.\u003c/i>\u003c/p>\n","blocks":[],"excerpt":"The painter and muralist unveils parts of the fictional city he’s building in a new exhibition in Oakland.","status":"publish","parent":0,"modified":1717539874,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1151},"headData":{"title":"Oakland Artist Joshua Mays Is Building the City of Olgaruth | KQED","description":"The painter and muralist unveils parts of the fictional city he’s building in a new exhibition in Oakland.","ogTitle":"Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’","ogDescription":"","ogImgId":"","twTitle":"Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’","twDescription":"","twImgId":"","socialTitle":"Oakland Artist Joshua Mays Is Building the City of Olgaruth %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’","datePublished":"2024-06-03T13:10:44-07:00","dateModified":"2024-06-04T15:24:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958886","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958886/joshua-mays-olgaruth-oakland-artist-profile","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking into the Oakland studio of \u003ca href=\"https://www.instagram.com/p/C7Sbj7qvSKd/?hl=en\">Joshua Mays\u003c/a> feels like entering another world. Colorful, fantastical portraits of characters cover almost every inch of the space, hanging from clothes lines or leaning against walls. Two door-length, painted masks are sculpted from cardboard and brown Kraft paper. Life-size green and purple paper vines hang from the ceiling.\u003c/p>\n\u003cp>And Mays is indeed building a new world — specifically, a fictional city filled with technological innovations known for its talented visionaries. It’s called Olgaruth.\u003c/p>\n\u003cp>“The city of Olgaruth is me defining and refining all the ways that I think being alive is cool and awesome and colorful and delicious and truly inspiring,” says Mays, who combined his grandmothers’ names, Olgar and Ruth, to create the city’s moniker.\u003c/p>\n\u003cp>The public is invited to get to know parts of Olgaruth and its main characters at a free pop-up exhibit titled \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">\u003ci>Portal 002\u003c/i>\u003c/a> at the Oakland nonprofit Beats, Rhymes and Life, starting June 7. It’s the second in a series of traveling, limited-run shows about Olgaruth that Mays has planned for the Bay Area and beyond. (The \u003ca href=\"https://www.instagram.com/reel/C5glZLAvWTO/?\">first installment\u003c/a> popped up at Oakland’s Aman Cafe in April.)\u003c/p>\n\u003cfigure id=\"attachment_13957766\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg\" alt=\"Black man leans over desk with pen in hand, materials behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ve perhaps seen some of Mays’ art nouveau-style, anime-inspired work when walking around Oakland, where he’s lived for the past 15 years and has painted \u003ca href=\"https://www.instagram.com/p/Bg1rVQTjAo6/?\">a number of public murals\u003c/a>. The most prominent one, called \u003ca href=\"https://www.instagram.com/p/CrjD2hgJgJ5/?hl=en&img_index=1\">\u003ci>Beacon Frequency Reader\u003c/i>\u003c/a>, adorns the side of 1700 Broadway in downtown Oakland and features a character from his growing Olgaruth world. He has also painted murals in Denver (his hometown); Philadelphia; Portland; Washington, D.C.; Johannesburg; London; Mexico City; and Jakarta.\u003c/p>\n\u003cp>Mays was drawn to the Bay Area because of its vibrant artist community and proximity to the tech industry. “The idea of meeting up with other weirdos who are doing things that haven’t been done before was super exciting,” Mays says.\u003c/p>\n\u003cp>He first dove into the idea of Olgaruth during the pandemic, when many of his client-based projects shut down. With his time freed up, he began to explore certain characters and motifs in his work more deeply. Existing paintings beckoned him to take things further and “get really weird with the possibilities,” he says.\u003c/p>\n\u003cp>“I literally looked at one of my pieces where there was a landscape unfolding, and I sat down and drew that section of that painting onto a map and then expanded it,” Mays explains. “There was a river and I just flowed further up the river and then broke that down into a topographical landscape, and then broke it down into 31 districts and named it Olgaruth.”\u003c/p>\n\u003cfigure id=\"attachment_13957769\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg\" alt=\"Two brightly colored map paintings showing regions of a landscape\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Maps of Olgaruth in Mays’ Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Now entering Olgaruth\u003c/h2>\n\u003cp>Since unlocking the door to Olgaruth in his imagination, Mays has been avidly designing its sci-fi cityscapes, producing its soundscapes and plotting numerous storylines.\u003c/p>\n\u003cp>“I’ve been watching a lot of video game play on YouTube,” Mays says. “And that made me look at my paintings and decide that they are storyboards for video gaming possibilities and for animated streaming.”\u003c/p>\n\u003cp>The first storyline he’s introducing in these early exhibits, including the upcoming \u003ci>Portal 002\u003c/i>, is titled “Savants of the Spore.”\u003c/p>\n\u003cp>In it, an awakened spore imparts all its knowledge to a select population of children — the savants — who “grow up to be brilliantly aware, yet socially limited, visionaries,” Mays says. The spore also guides a team of researchers and engineers to access innovations from the future, which come to define Olgaruth’s economy and culture.\u003c/p>\n\u003cfigure id=\"attachment_13958888\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg\" alt=\"A digital illustration of a sci-fi cityscape.\" width=\"1500\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-768x576.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-caption-text\">An Olgaruth cityscape. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three main characters are Montrose Calcot, a bio-engineer and restaurateur with restaurant locations in three districts; Cresta Canon, a professional athlete and competitive video gamer who invented Takal, Olgaruth’s top sport; and Ines Ardley, a recording artist, AI programmer and hacker who went missing while hacking Olgaruth media and communications.\u003c/p>\n\u003cp>They are all Black women, who are recurring subjects in Mays’ work.\u003c/p>\n\u003cfigure id=\"attachment_13959143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg\" alt=\"Colorful digital magazine covers of two Black woman characters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">‘Savants of the Spore’ characters Montrose Calcot (left) and Ines Ardley (right). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olgaruth’s 31 ground-level districts include names like Xanadu, Deephaven, Kalamath and Argonne — all inspired by the names of actual streets from neighborhoods in Denver, Philadelphia and Oakland. An additional seven districts (yet to be revealed) float in the air.\u003c/p>\n\u003cp>For the city’s soundtrack, Mays collaborated with an old high school friend, music producer \u003ca href=\"https://www.instagram.com/playeronebeats\">Troy Tolbert\u003c/a> as the duo Color Codes. In the Olgaruth storyline, they were commissioned by the Olgaruthian Provincial Transit Authority (OPTA) to produce audio tours and music mixes for the transit system.\u003c/p>\n\u003cp>In “ROUGE 168,” you hear the sounds of a bustling urban intersection; a voice announces “you are at Xanadu Station” before various, mostly hip hop-driven beats take over on the way to other stops.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jfydOF9oMfI'\n title='//www.youtube.com/embed/jfydOF9oMfI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘I love that I’m facing in this direction’\u003c/h2>\n\u003cp>Building the city of Olgaruth and creating its folklore has been extremely fulfilling for Mays, who says he’s been leaning into his creative flow and trusting his instincts during studio time.\u003c/p>\n\u003cp>“I love tuning in to what comes up next and [thinking about] how I add to the last session’s possibilities,” Mays says. “Like, I have no idea what’s going to happen and that feels great.”\u003c/p>\n\u003cp>In addition to the \u003ci>Portals\u003c/i> exhibits, he plans to eventually pitch Olgaruth to animation studios and video game developers. He also envisions collaborations and brand sponsorships in fashion and music.\u003c/p>\n\u003cfigure id=\"attachment_13957765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg\" alt=\"Hands over an intricate ink drawing\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This can go in 150 different directions. And this \u003ci>is\u003c/i> going to go in 150 different directions,” Mays says.\u003c/p>\n\u003cp>If his vision sounds grand, that’s the point. Decades into his career, Mays feels like he’s found his magnum opus, and he’s not shying away from his ambitions.\u003c/p>\n\u003cp>“It is the culmination of many [of my] inner children that have just been given permission to be themselves and to realize that there’s tremendous value in that,” he says.\u003c/p>\n\u003cp>Mays, who’s known to sprinkle motivational musings \u003ca href=\"https://www.instagram.com/reel/C7ZKHEWRmre/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">on his Instagram account\u003c/a> from time to time, also hopes Olgaruth and his \u003ci>Portals\u003c/i> shows will inspire others to feel less afraid to pursue their boldest ideas. He wants everyone to experience the kind of gratitude he’s feeling on this passion-filled, purposeful journey.\u003c/p>\n\u003cfigure id=\"attachment_13957777\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg\" alt=\"Black man with glasses sits in a room filled with bright paintings and drawings\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If I get hit by a bus tomorrow, I love that I’m facing in this direction — towards my highest, happiest, most joyful, empowered self.”\u003c/p>\n\u003cp>Where all signs point to Olgaruth.\u003c/p>\n\u003chr />\n\u003cp>\u003ci>‘Portal 002’ is on view June 7–11, 2024 at Beats, Rhymes and Life (450 Santa Clara Ave., Oakland). The opening reception takes place at 6 p.m. on June 7. More information \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958886/joshua-mays-olgaruth-oakland-artist-profile","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_1143","arts_585","arts_901"],"featImg":"arts_13959146","label":"arts_140"},"arts_13958873":{"type":"posts","id":"arts_13958873","meta":{"index":"posts_1716263798","site":"arts","id":"13958873","found":true},"guestAuthors":[],"slug":"moms-4-housing-archive-of-urban-futures-oakland","title":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism","publishDate":1717184511,"format":"standard","headTitle":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>During a recent workshop with the Archive of Urban Futures, Azlinah Tambu was asked what she wanted for the future of Oakland.\u003c/p>\n\u003cp>Tambu, a leader in the \u003ca href=\"https://oaklandnorth.net/2022/05/23/its-not-going-to-be-the-same-for-one-family-life-will-get-harder-when-parker-school-closes/\" target=\"_blank\" rel=\"noopener\">2022 occupation of Parker Elementary School\u003c/a> and member of the organization \u003ca href=\"https://moms4housing.org/\" target=\"_blank\" rel=\"noopener\">Moms 4 Housing\u003c/a>, said she wanted a “Hyphy Rail.” She described it as an “affordable, high-speed train that could rejoin families who were disconnected due to gentrification.”\u003c/p>\n\u003cp>While the Hyphy Rail might not be completely feasible, it speaks to the mindset that the \u003ca href=\"https://archiveofurbanfutures.org/\" target=\"_blank\" rel=\"noopener\">Archive of Urban Futures\u003c/a> is looking for: a new way of imagining transportation, housing and life in Oakland that aims to heal the harms of the past.\u003c/p>\n\u003cp>[aside postID='news_11842392']On Sunday, June 2, the Archive of Urban Futures and Moms 4 Housing will be at the Oakland Museum of California doing some of this collective imagining. The public is invited to the afternoon of panel discussions, community conversations and a film screening as a part of \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute.\u003c/a>\u003c/p>\n\u003cp>The one-day event will illustrate the work the Archive of Urban Futures, a collaboration between UC Berkeley researchers and members of Moms 4 Housing, which gained notoriety in 2019 after successfully protesting a major real estate company by occupying a vacant house in West Oakland. Over the past two years, the Archive of Urban Futures has compiled historical documents about the barriers Black people have faced in Oakland when it comes to housing, from redlining to predatory loans. The group has also taken a critical look at the current housing situation in the Town, where unaffordable home prices and mass amounts of unhoused people are a constant topic of discussion. Ultimately, they’ve been imagining what people might want their hometown to look like.\u003c/p>\n\u003cfigure id=\"attachment_13958899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958899 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg\" alt=\"Woman in a white dress and glasses poses for a photo outside of a warehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4.jpg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Brandi T. Summers stops for a photo outside of a warehouse in West Oakland. \u003ccite>(Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Brandi T. Summers, Associate Professor of Geography at UC Berkeley, tells me this isn’t your usual “archive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on what famed historian Howard Zinn referred to as “archival activism,” Summers says the work of the Archive of Urban Futures is to support \u003cspan style=\"font-weight: 400\">activities that directly support social justice. \u003c/span>\u003cspan style=\"font-weight: 400\">“The work to save a guy’s home is social justice and racial justice,” says Summers, referring to a clip from the short film about Moms 4 Housing titled \u003cem>Housing is a Human Right\u003c/em>, by Clara Perez. Summers explains that the footage in the film is also “an archive in teaching others how they can fight for their loved ones or even their neighbors.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Summers describes the archive as “multimodal,” explaining that this isn’t just a set of papers collecting dust in a library.\u003c/span>\u003c/p>\n\u003cp>“We’ve given community workshops and presentations at the Oakland Public Library,” says Summers. “We have a website with documents from the redlining period. Graduate students produced maps showing changes in race and class in neighborhoods, as well as environmental threats.” And she makes it clear: the purpose of the archive isn’t for the benefit of the institution, it’s for the community.\u003c/p>\n\u003cp>Summers, an African American woman who was raised in East Oakland, was hurt when she learned that upwards of\u003ca href=\"https://www.oaklandca.gov/news/alameda-county-partners-create-racial-equity-strategy-to-end-homelessness\" target=\"_blank\" rel=\"noopener\"> 70% of the unhoused people in Oakland are Black\u003c/a>. When asked to make sense of that number, especially in light of conversations about reparations and land reclamation, Summers says, “Time is a loop, it’s a circle. A lot of what we’re experiencing today might look a little different, but it’s something we’ve had in the past.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3T8r_c03zLI&t=202s\u003c/p>\n\u003cp>She looks back at the Great Migration of the early-to-mid 1900s, where African Americans fled the south in droves to the inner cities of the North, Midwest and West Coast in search of employment. “Black people in the Bay, in Oakland specifically, we were brought here to fulfill certain labor goals,” says Summers. She points out the \u003ca href=\"https://www.habitatebsv.org/blog/richmond-fair-housing-history\" target=\"_blank\" rel=\"noopener\">makeshift housing that was given to the workers\u003c/a> — old army barracks and even railroad cars. “There was never an intention for Black folks to have a home here. And I think that what we’re seeing today is not too far from that.”\u003c/p>\n\u003cp>Oakland is but one example of this issue, Summers says. Similar statements can be made about cities like Detroit, Baltimore and other post-industrial towns that attracted Black folks from the south nearly a century ago.\u003c/p>\n\u003cp>Broadening the conversation presents a very gloomy outlook for African Americans in this country, as a whole. But that’s why the Archive of Urban Futures urges the community to conjure up a more vibrant vision of what’s to come.\u003c/p>\n\u003cp>With an ambitious outlook, Summers says, “Black folks have a long history of taking unpleasant things and making them useful and beautiful.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Archive of Urban Futures presents \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute\u003c/a> on Sunday, June 2, from 11:30 a.m.–3:30 p.m. at the Oakland Museum of California’s Lecture Hall. A catered reception follows from 4 p.m.–5 p.m. in the California Room. \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mapping gentrification, redlining and predatory loans, the Archive of Urban Futures also imagines a new future for Oakland.","status":"publish","parent":0,"modified":1717185558,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":888},"headData":{"title":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism | KQED","description":"Mapping gentrification, redlining and predatory loans, the Archive of Urban Futures also imagines a new future for Oakland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism","datePublished":"2024-05-31T12:41:51-07:00","dateModified":"2024-05-31T12:59:18-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958873","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958873/moms-4-housing-archive-of-urban-futures-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a recent workshop with the Archive of Urban Futures, Azlinah Tambu was asked what she wanted for the future of Oakland.\u003c/p>\n\u003cp>Tambu, a leader in the \u003ca href=\"https://oaklandnorth.net/2022/05/23/its-not-going-to-be-the-same-for-one-family-life-will-get-harder-when-parker-school-closes/\" target=\"_blank\" rel=\"noopener\">2022 occupation of Parker Elementary School\u003c/a> and member of the organization \u003ca href=\"https://moms4housing.org/\" target=\"_blank\" rel=\"noopener\">Moms 4 Housing\u003c/a>, said she wanted a “Hyphy Rail.” She described it as an “affordable, high-speed train that could rejoin families who were disconnected due to gentrification.”\u003c/p>\n\u003cp>While the Hyphy Rail might not be completely feasible, it speaks to the mindset that the \u003ca href=\"https://archiveofurbanfutures.org/\" target=\"_blank\" rel=\"noopener\">Archive of Urban Futures\u003c/a> is looking for: a new way of imagining transportation, housing and life in Oakland that aims to heal the harms of the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11842392","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>On Sunday, June 2, the Archive of Urban Futures and Moms 4 Housing will be at the Oakland Museum of California doing some of this collective imagining. The public is invited to the afternoon of panel discussions, community conversations and a film screening as a part of \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute.\u003c/a>\u003c/p>\n\u003cp>The one-day event will illustrate the work the Archive of Urban Futures, a collaboration between UC Berkeley researchers and members of Moms 4 Housing, which gained notoriety in 2019 after successfully protesting a major real estate company by occupying a vacant house in West Oakland. Over the past two years, the Archive of Urban Futures has compiled historical documents about the barriers Black people have faced in Oakland when it comes to housing, from redlining to predatory loans. The group has also taken a critical look at the current housing situation in the Town, where unaffordable home prices and mass amounts of unhoused people are a constant topic of discussion. Ultimately, they’ve been imagining what people might want their hometown to look like.\u003c/p>\n\u003cfigure id=\"attachment_13958899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958899 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg\" alt=\"Woman in a white dress and glasses poses for a photo outside of a warehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4.jpg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Brandi T. Summers stops for a photo outside of a warehouse in West Oakland. \u003ccite>(Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Brandi T. Summers, Associate Professor of Geography at UC Berkeley, tells me this isn’t your usual “archive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on what famed historian Howard Zinn referred to as “archival activism,” Summers says the work of the Archive of Urban Futures is to support \u003cspan style=\"font-weight: 400\">activities that directly support social justice. \u003c/span>\u003cspan style=\"font-weight: 400\">“The work to save a guy’s home is social justice and racial justice,” says Summers, referring to a clip from the short film about Moms 4 Housing titled \u003cem>Housing is a Human Right\u003c/em>, by Clara Perez. Summers explains that the footage in the film is also “an archive in teaching others how they can fight for their loved ones or even their neighbors.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Summers describes the archive as “multimodal,” explaining that this isn’t just a set of papers collecting dust in a library.\u003c/span>\u003c/p>\n\u003cp>“We’ve given community workshops and presentations at the Oakland Public Library,” says Summers. “We have a website with documents from the redlining period. Graduate students produced maps showing changes in race and class in neighborhoods, as well as environmental threats.” And she makes it clear: the purpose of the archive isn’t for the benefit of the institution, it’s for the community.\u003c/p>\n\u003cp>Summers, an African American woman who was raised in East Oakland, was hurt when she learned that upwards of\u003ca href=\"https://www.oaklandca.gov/news/alameda-county-partners-create-racial-equity-strategy-to-end-homelessness\" target=\"_blank\" rel=\"noopener\"> 70% of the unhoused people in Oakland are Black\u003c/a>. When asked to make sense of that number, especially in light of conversations about reparations and land reclamation, Summers says, “Time is a loop, it’s a circle. A lot of what we’re experiencing today might look a little different, but it’s something we’ve had in the past.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3T8r_c03zLI'\n title='//www.youtube.com/embed/3T8r_c03zLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She looks back at the Great Migration of the early-to-mid 1900s, where African Americans fled the south in droves to the inner cities of the North, Midwest and West Coast in search of employment. “Black people in the Bay, in Oakland specifically, we were brought here to fulfill certain labor goals,” says Summers. She points out the \u003ca href=\"https://www.habitatebsv.org/blog/richmond-fair-housing-history\" target=\"_blank\" rel=\"noopener\">makeshift housing that was given to the workers\u003c/a> — old army barracks and even railroad cars. “There was never an intention for Black folks to have a home here. And I think that what we’re seeing today is not too far from that.”\u003c/p>\n\u003cp>Oakland is but one example of this issue, Summers says. Similar statements can be made about cities like Detroit, Baltimore and other post-industrial towns that attracted Black folks from the south nearly a century ago.\u003c/p>\n\u003cp>Broadening the conversation presents a very gloomy outlook for African Americans in this country, as a whole. But that’s why the Archive of Urban Futures urges the community to conjure up a more vibrant vision of what’s to come.\u003c/p>\n\u003cp>With an ambitious outlook, Summers says, “Black folks have a long history of taking unpleasant things and making them useful and beautiful.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Archive of Urban Futures presents \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute\u003c/a> on Sunday, June 2, from 11:30 a.m.–3:30 p.m. at the Oakland Museum of California’s Lecture Hall. A catered reception follows from 4 p.m.–5 p.m. in the California Room. \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958873/moms-4-housing-archive-of-urban-futures-oakland","authors":["11491"],"categories":["arts_1","arts_835"],"tags":["arts_4544","arts_22167","arts_1143","arts_21830","arts_21829"],"featImg":"arts_13958907","label":"arts"},"arts_13958910":{"type":"posts","id":"arts_13958910","meta":{"index":"posts_1716263798","site":"arts","id":"13958910","found":true},"guestAuthors":[],"slug":"the-lehman-trilogy-review-san-francisco-act","title":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance","publishDate":1717178730,"format":"standard","headTitle":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","status":"publish","parent":0,"modified":1717365255,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":589},"headData":{"title":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance | KQED","description":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","ogTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance","ogDescription":"","ogImgId":"","twTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance","twDescription":"","twImgId":"","socialTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance %%page%% %%sep%% KQED","socialDescription":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance","datePublished":"2024-05-31T11:05:30-07:00","dateModified":"2024-06-02T14:54:15-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958910","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958910/the-lehman-trilogy-review-san-francisco-act","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958910/the-lehman-trilogy-review-san-francisco-act","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1238","arts_1175","arts_10278","arts_769","arts_22168"],"featImg":"arts_13958920","label":"arts_140"},"arts_13958891":{"type":"posts","id":"arts_13958891","meta":{"index":"posts_1716263798","site":"arts","id":"13958891","found":true},"guestAuthors":[],"slug":"film-talks-sfpl-san-francisco-jim-van-buskirk","title":"A Fresh Look at San Francisco’s Starring Hollywood Roles","publishDate":1717442103,"format":"standard","headTitle":"A Fresh Look at San Francisco’s Starring Hollywood Roles | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>[aside postID='arts_13958881,arts_13957326']Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"On Tuesday nights in June, Jim Van Buskirk mines the city’s celluloid history, with clips and stills galore. ","status":"publish","parent":0,"modified":1717442103,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":784},"headData":{"title":"A Fresh Look at San Francisco’s Starring Hollywood Roles | KQED","description":"On Tuesday nights in June, Jim Van Buskirk mines the city’s celluloid history, with clips and stills galore. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Fresh Look at San Francisco’s Starring Hollywood Roles","datePublished":"2024-06-03T12:15:03-07:00","dateModified":"2024-06-03T12:15:03-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958891","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958891/film-talks-sfpl-san-francisco-jim-van-buskirk","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958881,arts_13957326","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958891/film-talks-sfpl-san-francisco-jim-van-buskirk","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_11615","arts_74"],"tags":["arts_10278","arts_977","arts_7221","arts_585"],"featImg":"arts_13959080","label":"arts_140"},"arts_13957394":{"type":"posts","id":"arts_13957394","meta":{"index":"posts_1716263798","site":"arts","id":"13957394","found":true},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1715791536,"format":"standard","title":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","headTitle":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024 | KQED","content":"\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2050,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":29},"modified":1715797947,"excerpt":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","headData":{"twImgId":"","twTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","socialTitle":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts %%page%% %%sep%% KQED","ogTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","ogImgId":"","twDescription":"","description":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","title":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","datePublished":"2024-05-15T09:45:36-07:00","dateModified":"2024-05-15T11:32:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1718296825-1020x637.jpg","author":{"@type":"Person","name":"Nastia Voynovskaya","jobTitle":"Associate Editor","url":"https://www.kqed.org/author/nvoynovskaya"}},"authorsData":[{"type":"authors","id":"11387","meta":{"index":"authors_1716337520","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1718296825-1020x637.jpg","width":1020,"mimeType":"image/jpeg","height":637},"ogImageWidth":"1020","ogImageHeight":"637","twitterImageUrl":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1718296825-1020x637.jpg","twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1718296825-1020x637.jpg","width":1020,"mimeType":"image/jpeg","height":637},"twitterCard":"summary_large_image"},"tagData":{"tags":["featured-arts","Summer Guide 2024","summerguide2024","thedolist"]}},"guestAuthors":[],"slug":"bay-area-music-festivals-outdoor-concerts-summer-2024","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"source":"Summer Guide 2024","articleAge":"0","nprStoryId":"kqed-13957394","path":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_22150","arts_22140","arts_585"],"featImg":"arts_13938053","label":"source_arts_13957394","isLoading":false,"hasAllInfo":true}},"programsReducer":{"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","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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