The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening | KQED
upper waypoint The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening Apr 19
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Honey Mahogany (center) and other Stud Collective members and drag performers gather for a photo outside of the new location of The Stud, a longtime LGBTQ+ venue and worker-owned cooperative, on Folsom Street in the Leather and LGBTQ Cultural District in San Francisco on Sept. 5, 2023, after its closure at its former site in 2020. (Beth LaBerge/KQED)
When the Stud closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.
The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a Stud Time Machine party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late Heklina ’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.
As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.
Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. (Beth LaBerge/KQED)
Adhiti Bandlamudi: The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?
Honey Mahogany: The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.
My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.
The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?
It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.
The Stud has always been kind of a dive bar — more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own — a group of 17 — worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.
I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.
The Stud’s first Pride float in 1974. (Courtesy of The Stud)
I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?
COVID was a real bummer.
To say the least.
We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.
There’s also been some fundraising that’s been going on. The crowdfunding goal is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.
The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.
Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. (Melissa Hawkins)
But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.
The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.
One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early.
The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?
We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.
The Stud is located at 1123-1125 Folsom Street. The Stud Time Machine reopening party begins at 5:30 p.m. on April 20. Follow the Stud on Instagram for updates on business hours and future events.
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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"},"abandlamudi":{"type":"authors","id":"11672","meta":{"index":"authors_1716337520","id":"11672","found":true},"name":"Adhiti Bandlamudi","firstName":"Adhiti","lastName":"Bandlamudi","slug":"abandlamudi","email":"abandlamudi@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"KQED Housing Reporter","bio":"Adhiti Bandlamudi reports for KQED's Housing desk. She focuses on how housing gets built across the Bay Area. Before joining KQED in 2020, she reported for WUNC in Durham, North Carolina, WABE in Atlanta, Georgia and Capital Public Radio in Sacramento. In 2017, she was awarded a Kroc Fellowship at NPR where she reported on everything from sprinkles to the Golden State Killer's arrest. When she's not reporting, she's baking new recipes in her kitchen or watching movies with friends and family. She's originally from Georgia and has strong opinions about Great British Bake Off.","avatar":"https://secure.gravatar.com/avatar/868129c8b257bb99a3500e2c86a65400?s=600&d=blank&r=g","twitter":"oddity_adhiti","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Adhiti Bandlamudi | KQED","description":"KQED Housing Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/868129c8b257bb99a3500e2c86a65400?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/868129c8b257bb99a3500e2c86a65400?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/abandlamudi"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"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_13958776":{"type":"posts","id":"arts_13958776","meta":{"index":"posts_1716263798","site":"arts","id":"13958776","found":true},"guestAuthors":[],"slug":"santa-cruz-attack-otter-841-is-back-steamer-lane-surfboard","title":"The Infamous Santa Cruz Sea Otter Is Back and Ready to Snack (on Surfboards)","publishDate":1717009487,"format":"standard","headTitle":"The Infamous Santa Cruz Sea Otter Is Back and Ready to Snack (on Surfboards) | KQED","labelTerm":{"site":"arts"},"content":"\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>[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_13958544":{"type":"posts","id":"arts_13958544","meta":{"index":"posts_1716263798","site":"arts","id":"13958544","found":true},"guestAuthors":[],"slug":"bottlerock-kali-uchis-review-photos","title":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","publishDate":1716746733,"format":"standard","headTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"It was the singer’s first show since giving birth and dropping her phenomenal album ‘Orquídeas.’","status":"publish","parent":0,"modified":1716746733,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1001},"headData":{"title":"BottleRock Kali Uchis Review: An Otherworldly Night | KQED","description":"It was the singer’s first show since giving birth and dropping her phenomenal album ‘Orquídeas.’","ogTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","ogDescription":"","ogImgId":"","twTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","twDescription":"","twImgId":"","socialTitle":"BottleRock Kali Uchis Review: An Otherworldly Night %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","datePublished":"2024-05-26T11:05:33-07:00","dateModified":"2024-05-26T11:05:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958544","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958544/bottlerock-kali-uchis-review-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\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>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958544/bottlerock-kali-uchis-review-photos","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_1853","arts_10278","arts_1855"],"featImg":"arts_13958575","label":"arts"},"arts_13958699":{"type":"posts","id":"arts_13958699","meta":{"index":"posts_1716263798","site":"arts","id":"13958699","found":true},"guestAuthors":[],"slug":"dr-jack-turban-free-to-be-simon-schuster","title":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth","publishDate":1716923092,"format":"standard","headTitle":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. [aside postid='arts_13926077']\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. [aside postid='arts_13957070']\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” [aside postid='arts_13955066']\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” [aside postid='news_11966077']\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. [aside postid='arts_13858877']\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jack Turban cuts through the noise of anti-trans panic with research and real-life patient stories. ","status":"publish","parent":0,"modified":1716923292,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1582},"headData":{"title":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth | KQED","description":"Jack Turban cuts through the noise of anti-trans panic with research and real-life patient stories. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth","datePublished":"2024-05-28T12:04:52-07:00","dateModified":"2024-05-28T12:08:12-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/arts/tag/commentary","sticky":false,"nprByline":"Veronica Esposito ","nprStoryId":"kqed-13958699","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958699/dr-jack-turban-free-to-be-simon-schuster","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\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>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957070","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11966077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\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>\u003cem>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958699/dr-jack-turban-free-to-be-simon-schuster","authors":["byline_arts_13958699"],"categories":["arts_1","arts_73","arts_2303","arts_835"],"tags":["arts_14452","arts_2767","arts_10278","arts_3226","arts_702"],"featImg":"arts_13958700","label":"source_arts_13958699"},"arts_13958762":{"type":"posts","id":"arts_13958762","meta":{"index":"posts_1716263798","site":"arts","id":"13958762","found":true},"guestAuthors":[],"slug":"who-is-michael-jang-documentary-michael-jacobs-sf-docfest","title":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","publishDate":1717013243,"format":"standard","headTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>[aside postID='arts_13958101,arts_13958735' label='More at SF DocFest']\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\n\u003cp>https://vimeo.com/946766672\u003c/p>\n\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","status":"publish","parent":0,"modified":1717100630,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1472},"headData":{"title":"‘Who is Michael Jang?’ Premieres at SF DocFest | KQED","description":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","ogTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","ogDescription":"","ogImgId":"","twTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","twDescription":"","twImgId":"","socialTitle":"‘Who is Michael Jang?’ Premieres at SF DocFest %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","datePublished":"2024-05-29T13:07:23-07:00","dateModified":"2024-05-30T13:23:50-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958762","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \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>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958101,arts_13958735","label":"More at SF DocFest "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"946766672"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\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>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_70"],"tags":["arts_21958","arts_10342","arts_10278","arts_822","arts_585"],"featImg":"arts_13867630","label":"arts_140"},"arts_13958734":{"type":"posts","id":"arts_13958734","meta":{"index":"posts_1716263798","site":"arts","id":"13958734","found":true},"guestAuthors":[],"slug":"sister-roma-to-lead-san-francisco-queer-history-bus-tour-for-pride-month","title":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","publishDate":1716938872,"format":"standard","headTitle":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp dir=\"ltr\">Sister Roma will lead two queer history bus tours and singalongs on June 27 as part of a month-long series of drag events celebrating San Francisco Pride.\u003c/p>\n\u003cp dir=\"ltr\">The famed Sister of Perpetual Indulgence will guide attendees on a 90-minute journey around downtown landmarks that hold queer historical significance. Later than night, a dinner and drag revue gets underway at \u003ca href=\"https://onemarket.com/\">One Market\u003c/a> restaurant, hosted by \u003ca href=\"https://www.instagram.com/bobbyfriday/\">Bobby Friday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a>, with performances from \u003ca href=\"https://www.kqed.org/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community\">Mahlae Balenciaga\u003c/a> and \u003ca href=\"https://www.instagram.com/thecarnieasada/?hl=en\">Carnie Asada\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">The June 27 celebrations will mark the grand finale of \u003ca href=\"https://downtownsf.org/do/drag-me-downtown-2024\">Drag Me Downtown\u003c/a>, a series of pop-up drag performances every Thursday in June, presented by the \u003ca href=\"https://downtownsf.org/\">Downtown SF Partnership\u003c/a>. On June 6, Harrington’s Bar and Grill will host \u003ca href=\"https://www.instagram.com/afrikaamerica/?hl=en\">Afrika America\u003c/a> and \u003ca href=\"https://www.instagram.com/oliverbranchdrag/\">Oliver Branch\u003c/a>. On the 13th, \u003ca href=\"https://www.instagram.com/tito.so.to/\">Tito Soto\u003c/a> and \u003ca href=\"https://www.instagram.com/amourateese/?hl=en\">Amoura Teese\u003c/a> will perform at PABU Izakaya. And on the 20th, \u003ca href=\"https://www.sgtdiewies.com/tyson-check-in\">Tyson Check-in\u003c/a> and \u003ca href=\"https://www.eyezen.org/kipper-snacks\">Kipper Snacks\u003c/a> will put on a show for The Third Floor at The Jay Hotel. Each event is hosted by Bobby Friday.\u003c/p>\n\u003cp dir=\"ltr\">[aside postid='arts_13930404']Though Drag Me Downtown is free to attend, those wishing to get their hands on some Pride 2024 goodies can \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-2024-tickets-902788975127?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">pre-register for $10\u003c/a>, the proceeds of which will be donated to San Francisco’s \u003ca href=\"https://www.transgenderdistrict.org/about\">Transgender District\u003c/a>. Since 2017, the cultural district has been taking steps to ensure tenant protections for Tenderloin residents, working with the city to preserve sites of LGBTQ historical significance and providing workforce development programs and other community-minded activities.\u003c/p>\n\u003cp dir=\"ltr\">“As a San Francisco native and the city’s first drag laureate,” Drollinger shared in a statement, “my goal is and will always be to celebrate and elevate the art of drag. I am thrilled that I was asked to participate in bringing some sparkle to this fabulous series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">Bobby Friday added: “I can think of no better way to celebrate Pride month by showcasing the talents of Bay Area drag performers at different venues around downtown, with its rich cultural history and beautiful spaces. Here’s to another fierce and fabulous Pride month celebrating what San Francisco has always been to me — a place that accepts and loves all!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Sister Roma will host two bus tours on \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-a-queer-history-bus-tour-and-sing-along-1-pm-tickets-912379831637?aff=erelexpmlt\">June 27, at 1 p.m\u003c/a>. and 3:30 p.m. Early bird tickets cost $17.85 while general admission is $23.18. The second tour of the day has sold out.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The June 27 tours are part of Drag Me Downtown, a series of pop-up drag performances happening throughout Pride month.","status":"publish","parent":0,"modified":1717001497,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":2,"wordCount":409},"headData":{"title":"Sister Roma to Lead LGBTQ History Tour, Singalong for SF Pride | KQED","description":"The June 27 tours are part of Drag Me Downtown, a series of pop-up drag performances happening throughout Pride month.","ogTitle":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","ogDescription":"","ogImgId":"","twTitle":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","twDescription":"","twImgId":"","socialTitle":"Sister Roma to Lead LGBTQ History Tour, Singalong for SF Pride %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","datePublished":"2024-05-28T16:27:52-07:00","dateModified":"2024-05-29T09:51:37-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958734","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958734/sister-roma-to-lead-san-francisco-queer-history-bus-tour-for-pride-month","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Sister Roma will lead two queer history bus tours and singalongs on June 27 as part of a month-long series of drag events celebrating San Francisco Pride.\u003c/p>\n\u003cp dir=\"ltr\">The famed Sister of Perpetual Indulgence will guide attendees on a 90-minute journey around downtown landmarks that hold queer historical significance. Later than night, a dinner and drag revue gets underway at \u003ca href=\"https://onemarket.com/\">One Market\u003c/a> restaurant, hosted by \u003ca href=\"https://www.instagram.com/bobbyfriday/\">Bobby Friday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a>, with performances from \u003ca href=\"https://www.kqed.org/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community\">Mahlae Balenciaga\u003c/a> and \u003ca href=\"https://www.instagram.com/thecarnieasada/?hl=en\">Carnie Asada\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">The June 27 celebrations will mark the grand finale of \u003ca href=\"https://downtownsf.org/do/drag-me-downtown-2024\">Drag Me Downtown\u003c/a>, a series of pop-up drag performances every Thursday in June, presented by the \u003ca href=\"https://downtownsf.org/\">Downtown SF Partnership\u003c/a>. On June 6, Harrington’s Bar and Grill will host \u003ca href=\"https://www.instagram.com/afrikaamerica/?hl=en\">Afrika America\u003c/a> and \u003ca href=\"https://www.instagram.com/oliverbranchdrag/\">Oliver Branch\u003c/a>. On the 13th, \u003ca href=\"https://www.instagram.com/tito.so.to/\">Tito Soto\u003c/a> and \u003ca href=\"https://www.instagram.com/amourateese/?hl=en\">Amoura Teese\u003c/a> will perform at PABU Izakaya. And on the 20th, \u003ca href=\"https://www.sgtdiewies.com/tyson-check-in\">Tyson Check-in\u003c/a> and \u003ca href=\"https://www.eyezen.org/kipper-snacks\">Kipper Snacks\u003c/a> will put on a show for The Third Floor at The Jay Hotel. Each event is hosted by Bobby Friday.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930404","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Though Drag Me Downtown is free to attend, those wishing to get their hands on some Pride 2024 goodies can \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-2024-tickets-902788975127?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">pre-register for $10\u003c/a>, the proceeds of which will be donated to San Francisco’s \u003ca href=\"https://www.transgenderdistrict.org/about\">Transgender District\u003c/a>. Since 2017, the cultural district has been taking steps to ensure tenant protections for Tenderloin residents, working with the city to preserve sites of LGBTQ historical significance and providing workforce development programs and other community-minded activities.\u003c/p>\n\u003cp dir=\"ltr\">“As a San Francisco native and the city’s first drag laureate,” Drollinger shared in a statement, “my goal is and will always be to celebrate and elevate the art of drag. I am thrilled that I was asked to participate in bringing some sparkle to this fabulous series.”\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 dir=\"ltr\">Bobby Friday added: “I can think of no better way to celebrate Pride month by showcasing the talents of Bay Area drag performers at different venues around downtown, with its rich cultural history and beautiful spaces. Here’s to another fierce and fabulous Pride month celebrating what San Francisco has always been to me — a place that accepts and loves all!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Sister Roma will host two bus tours on \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-a-queer-history-bus-tour-and-sing-along-1-pm-tickets-912379831637?aff=erelexpmlt\">June 27, at 1 p.m\u003c/a>. and 3:30 p.m. Early bird tickets cost $17.85 while general admission is $23.18. The second tour of the day has sold out.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958734/sister-roma-to-lead-san-francisco-queer-history-bus-tour-for-pride-month","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_75"],"tags":["arts_1556","arts_3226","arts_5158","arts_2200","arts_585"],"featImg":"arts_13929354","label":"arts_140"},"arts_13957988":{"type":"posts","id":"arts_13957988","meta":{"index":"posts_1716263798","site":"arts","id":"13957988","found":true},"guestAuthors":[],"slug":"mistah-f-a-b-drops-n-e-w-oakland-music-video-nearly-20-years-later","title":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later","publishDate":1716328907,"format":"standard","headTitle":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 2005, when rapper \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\">Mistah F.A.B.\u003c/a> originally released “N.E.W. Oakland,” he was barely old enough to legally drink. Nearly 20 years later — now a veteran, community fixture and business savant — he’s finally decided to drop the video.\u003c/p>\n\u003cp>Mistah F.A.B. is known for pouring his all into The Town. In addition to running \u003ca href=\"https://www.instagram.com/dopeeraco/?hl=en\">Dope Era\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">a clothing shop that also offers a youth arts development component\u003c/a>), he recently began offering \u003ca href=\"https://www.youtube.com/watch?v=pVbQyGJGWgw\">Thug Therapy\u003c/a> (a free, bimonthly support group for men). But “N.E.W. Oakland” shows how F.A.B. was bringing folks together long before that, with a call for pride and unity in the Oakland hip-hop scene.\u003c/p>\n\u003cp>The ode recounts each side of Oakland (the North, East and West) with a triumvirate of game-certified, lyrically diverse representatives: F.A.B., \u003ca href=\"https://www.instagram.com/trugstack/\">G-Stack\u003c/a> and \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a>. As a young, rising freestyle rapper, Mistah F.A.B. — the self-proclaimed “Prince of the O” — first got the idea when he ran into the pair of Oakland legends, whom he grew up idolizing.\u003c/p>\n\u003cp>“I was in the studio and was like, there go G-Stack, that’s a super pioneer for the culture with [his group] The Delinquents, and what they done for Oakland. Then Bavgate walked into the studio after that. He used to be with No Limit [Records], selling millions,” F.A.B. recalls. “I’m like, ‘I’m from the North, he’s from the East, he’s from the West.’ Let’s do a record about the whole Town being together.”\u003c/p>\n\u003cp>“I had a beat from E-A-Ski and I freestyled the hook,” he continues. “Everyone was like ‘Yeah, that’s cold.’ So we wrote our verses. [But] never would I have thought that ‘N.E.W Oakland’ would be a song that stands as a Bay Area anthem.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_E0FIFuJZ64\u003c/p>\n\u003cp>Unlike so many rap songs about warring factions, “N.E.W. Oakland” brings each side of Oakland together on equal footing, with shout-outs to each neighborhood’s markers. There may not be another hook with as much centrifugal gravity for all of Oakland as when F.A.B. shouts, “I got the North, got the East, got the West with me.”\u003c/p>\n\u003cp>At the time of the song’s release, F.A.B. says that North Oakland wasn’t receiving its proper respect, often being left out of the larger rap conversation, while East and West Oakland rappers got their shine. In the 2005 Keak Da Sneak track “Town Business,” for example, the raspy-voiced linguist rattles off a litany of Oakland locations — but none from the North side.\u003c/p>\n\u003cp>“That was a big record that summer,” F.A.B. says. “I was like ‘Damn, y’all didn’t say nothing about North Oakland.’ So when I did my verse [on ‘N.E.W. Oakland’], I started it out with the same cadence Keak used but it included areas from North Oakland. It was a friendly response to my big brother about how they forgot about us. It’s not no diss or anything. It’s just letting people know about the North.”\u003c/p>\n\u003cp>On the opening verse of “N.E.W. Oakland,” Fabby bombards listeners with references to “the North Pole” — Gaskill, Bushrod, 62nd, Goldenville. He then reminds the Bay Area that Oakland is bigger than its notorious East and West sides: “My side been forgot about and that’s what I’m hot about.” Then he enlists two lyrical giants from each contingent to tell their sides.\u003c/p>\n\u003cp>The song was instantly a hit on street corners, at house parties, lakeside cookouts, car cruises and more. And its unifying theme is surely part of the reason the new video struck such a deep chord with today’s audience after it premiered on May 10.\u003c/p>\n\u003cfigure id=\"attachment_11754468\" class=\"wp-caption alignnone\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11754468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg\" alt=\"Mistah F.A.B. headlines a show honoring the legacy of Oakland's Mac Dre\" width=\"1071\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-960x565.jpg 960w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. made a name for himself during the hyphy movement with his unapologetic representation of North Oakland. \u003ccite>(Photo: Courtesy of Mistah F.A.B.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot and directed by Thee Shooters, the video is a mix of documentary and artistic angling, spanning each rapper’s turf — beginning in the North, then sliding through the Deep East and circling back to Ghost Town in the West. Despite the shift in eras (and technology), the 20-year-old song seems to have even gained a few octaves of trunk-rattling superpowers with each passing year.\u003c/p>\n\u003cp>Bay Area fans seem to agree that it slaps. The comment section under \u003ca href=\"https://www.instagram.com/p/C6zuz27xWyF/\">the “N.E.W. Oakland” video’s Instagram post\u003c/a> is like a group chat of diehard fans and major Bay Area personalities and institutions, including \u003ca href=\"https://www.kqed.org/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3\">Rexx Life Raj\u003c/a>, DB Tha General, 22nd Jim, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, The Grouch and more.\u003c/p>\n\u003cp>“Who here been waiting 20 years for this video button [100 emoji; fire emoji; clapping emoji],” one fan on \u003ca href=\"https://www.youtube.com/watch?v=_E0FIFuJZ64\">YouTube\u003c/a> wrote. “I’m 33 now, this slap came out when I was a freshman in high school!,” says another. And perhaps the one that hits the bullseye: “Maaannn, very smart release.”\u003c/p>\n\u003cp>If it feels rare for a rapper to reach into the archives and shoot original footage for a track that was released nearly a quarter-century ago, that’s because it is. For better or worse, hip-hop has often been presented as a genre of the moment, and the culture is still figuring out how to age gracefully and honor the past — particularly as some of its mainstay figures pass away, and others radically shift gears to stay relevant.\u003c/p>\n\u003cp>In that context, it’s compelling for three well-established rappers to come back in a way that is fresh, dynamic and genuine — not by trying to create a contemporary hit based on today’s TikTok trends, but to honor their past work together in a sincere way.\u003c/p>\n\u003cp>It begs the question: Why isn’t there more of this? If it’s the right song, and it came out at the right time, but there’s no existing video for it, then why not release a video after the fact?\u003c/p>\n\u003ch2>Capturing Oakland, then and now\u003c/h2>\n\u003cp>Back in the day, music videos were mostly financially out of reach for independent rappers — it could’ve cost $25,000 to $50,000 to film a proper one. Without record label budgets, artists learned how to survive out the trunk rather than aspiring for Hollywood’s recognition. In fact, most of Mistah F.A.B.’s legendary discography — along with many of the alpha rappers of his generation and prior — didn’t have official videos until later in their careers. They made mixtapes, and then there were bootleg mixes of pixelated slideshows created by avid fans on YouTube, long before social media existed.\u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption alignnone\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"1499\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w\" sizes=\"(max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For F.A.B., it only felt right to resuscitate an important moment in Oakland’s rap history by providing a video. The idea first came together organically during F.A.B.’s birthday party earlier this year; G-Stack and Bavgate were in attendance. F.A.B. realized he had a film crew available that could do what he didn’t have the ability to do at 21 years old. So he locked it in.\u003c/p>\n\u003cp>“Documentation supersedes conversation,” says Mistah F.A.B., like a professor about to freestyle an entire dissertation. “When it’s locked in, there’s nothing to talk about. We here. You can see it for yourself. We just captured the moment.”\u003c/p>\n\u003cp>The video serves as a testament to not only what Oakland is right now, but what it felt like back then — if not in the physical form, then at least in the spiritual realm. Due to relentless waves of gentrification that have dismantled so many community hubs, it’s hard to imagine what this video might’ve looked like if it came out in ‘05 instead of ‘24. That’s not lost on the artist.\u003c/p>\n\u003cp>“Some of my friends that were there when we made this [song], they’re no longer living,” says F.A.B. Same for physical landmarks that are no longer here: “When I talk about Goldenville, that was a project building we all grew up in. Know what I’m saying? I would’ve loved to get those kinds of buildings and people in it.”\u003c/p>\n\u003cp>F.A.B. even admits that he initially thought the video could’ve worked in black and white. But he’s ultimately glad it’s in color. The energy and liveliness of contemporary Oakland is exactly what he had hoped to convey, without diluting it or hyperbolizing it.\u003c/p>\n\u003cp>“The directors did a hell of a job of capturing the energy,” F.A.B. says. “If you ever wanted to know what Oakland looks like, here it is.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mistah F.A.B. hosts \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cw0sNjAywbV/\">\u003ci>Thug Therapy\u003c/i>\u003c/a>\u003ci>, a mental health check-in for men, on first and third Wednesdays from 6 to 9 p.m. at Oakstop California Ballroom (1736 Franklin St., Oakland). The next event will be held on Wednesday, May 29 and feature Rick ‘Freeway Ricky’ Ross. Free entry, includes complimentary food and beverages.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"With fresh visuals, the 2005 anthem — which celebrates different sides of The Town — feels even more poignant today.","status":"publish","parent":0,"modified":1716401213,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1661},"headData":{"title":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later | KQED","description":"With fresh visuals, the 2005 anthem — which celebrates different sides of The Town — feels even more poignant today.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later","datePublished":"2024-05-21T15:01:47-07:00","dateModified":"2024-05-22T11:06:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957988","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957988/mistah-f-a-b-drops-n-e-w-oakland-music-video-nearly-20-years-later","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, when rapper \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\">Mistah F.A.B.\u003c/a> originally released “N.E.W. Oakland,” he was barely old enough to legally drink. Nearly 20 years later — now a veteran, community fixture and business savant — he’s finally decided to drop the video.\u003c/p>\n\u003cp>Mistah F.A.B. is known for pouring his all into The Town. In addition to running \u003ca href=\"https://www.instagram.com/dopeeraco/?hl=en\">Dope Era\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">a clothing shop that also offers a youth arts development component\u003c/a>), he recently began offering \u003ca href=\"https://www.youtube.com/watch?v=pVbQyGJGWgw\">Thug Therapy\u003c/a> (a free, bimonthly support group for men). But “N.E.W. Oakland” shows how F.A.B. was bringing folks together long before that, with a call for pride and unity in the Oakland hip-hop scene.\u003c/p>\n\u003cp>The ode recounts each side of Oakland (the North, East and West) with a triumvirate of game-certified, lyrically diverse representatives: F.A.B., \u003ca href=\"https://www.instagram.com/trugstack/\">G-Stack\u003c/a> and \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a>. As a young, rising freestyle rapper, Mistah F.A.B. — the self-proclaimed “Prince of the O” — first got the idea when he ran into the pair of Oakland legends, whom he grew up idolizing.\u003c/p>\n\u003cp>“I was in the studio and was like, there go G-Stack, that’s a super pioneer for the culture with [his group] The Delinquents, and what they done for Oakland. Then Bavgate walked into the studio after that. He used to be with No Limit [Records], selling millions,” F.A.B. recalls. “I’m like, ‘I’m from the North, he’s from the East, he’s from the West.’ Let’s do a record about the whole Town being together.”\u003c/p>\n\u003cp>“I had a beat from E-A-Ski and I freestyled the hook,” he continues. “Everyone was like ‘Yeah, that’s cold.’ So we wrote our verses. [But] never would I have thought that ‘N.E.W Oakland’ would be a song that stands as a Bay Area anthem.”\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>\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/_E0FIFuJZ64'\n title='//www.youtube.com/embed/_E0FIFuJZ64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike so many rap songs about warring factions, “N.E.W. Oakland” brings each side of Oakland together on equal footing, with shout-outs to each neighborhood’s markers. There may not be another hook with as much centrifugal gravity for all of Oakland as when F.A.B. shouts, “I got the North, got the East, got the West with me.”\u003c/p>\n\u003cp>At the time of the song’s release, F.A.B. says that North Oakland wasn’t receiving its proper respect, often being left out of the larger rap conversation, while East and West Oakland rappers got their shine. In the 2005 Keak Da Sneak track “Town Business,” for example, the raspy-voiced linguist rattles off a litany of Oakland locations — but none from the North side.\u003c/p>\n\u003cp>“That was a big record that summer,” F.A.B. says. “I was like ‘Damn, y’all didn’t say nothing about North Oakland.’ So when I did my verse [on ‘N.E.W. Oakland’], I started it out with the same cadence Keak used but it included areas from North Oakland. It was a friendly response to my big brother about how they forgot about us. It’s not no diss or anything. It’s just letting people know about the North.”\u003c/p>\n\u003cp>On the opening verse of “N.E.W. Oakland,” Fabby bombards listeners with references to “the North Pole” — Gaskill, Bushrod, 62nd, Goldenville. He then reminds the Bay Area that Oakland is bigger than its notorious East and West sides: “My side been forgot about and that’s what I’m hot about.” Then he enlists two lyrical giants from each contingent to tell their sides.\u003c/p>\n\u003cp>The song was instantly a hit on street corners, at house parties, lakeside cookouts, car cruises and more. And its unifying theme is surely part of the reason the new video struck such a deep chord with today’s audience after it premiered on May 10.\u003c/p>\n\u003cfigure id=\"attachment_11754468\" class=\"wp-caption alignnone\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11754468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg\" alt=\"Mistah F.A.B. headlines a show honoring the legacy of Oakland's Mac Dre\" width=\"1071\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-960x565.jpg 960w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. made a name for himself during the hyphy movement with his unapologetic representation of North Oakland. \u003ccite>(Photo: Courtesy of Mistah F.A.B.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot and directed by Thee Shooters, the video is a mix of documentary and artistic angling, spanning each rapper’s turf — beginning in the North, then sliding through the Deep East and circling back to Ghost Town in the West. Despite the shift in eras (and technology), the 20-year-old song seems to have even gained a few octaves of trunk-rattling superpowers with each passing year.\u003c/p>\n\u003cp>Bay Area fans seem to agree that it slaps. The comment section under \u003ca href=\"https://www.instagram.com/p/C6zuz27xWyF/\">the “N.E.W. Oakland” video’s Instagram post\u003c/a> is like a group chat of diehard fans and major Bay Area personalities and institutions, including \u003ca href=\"https://www.kqed.org/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3\">Rexx Life Raj\u003c/a>, DB Tha General, 22nd Jim, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, The Grouch and more.\u003c/p>\n\u003cp>“Who here been waiting 20 years for this video button [100 emoji; fire emoji; clapping emoji],” one fan on \u003ca href=\"https://www.youtube.com/watch?v=_E0FIFuJZ64\">YouTube\u003c/a> wrote. “I’m 33 now, this slap came out when I was a freshman in high school!,” says another. And perhaps the one that hits the bullseye: “Maaannn, very smart release.”\u003c/p>\n\u003cp>If it feels rare for a rapper to reach into the archives and shoot original footage for a track that was released nearly a quarter-century ago, that’s because it is. For better or worse, hip-hop has often been presented as a genre of the moment, and the culture is still figuring out how to age gracefully and honor the past — particularly as some of its mainstay figures pass away, and others radically shift gears to stay relevant.\u003c/p>\n\u003cp>In that context, it’s compelling for three well-established rappers to come back in a way that is fresh, dynamic and genuine — not by trying to create a contemporary hit based on today’s TikTok trends, but to honor their past work together in a sincere way.\u003c/p>\n\u003cp>It begs the question: Why isn’t there more of this? If it’s the right song, and it came out at the right time, but there’s no existing video for it, then why not release a video after the fact?\u003c/p>\n\u003ch2>Capturing Oakland, then and now\u003c/h2>\n\u003cp>Back in the day, music videos were mostly financially out of reach for independent rappers — it could’ve cost $25,000 to $50,000 to film a proper one. Without record label budgets, artists learned how to survive out the trunk rather than aspiring for Hollywood’s recognition. In fact, most of Mistah F.A.B.’s legendary discography — along with many of the alpha rappers of his generation and prior — didn’t have official videos until later in their careers. They made mixtapes, and then there were bootleg mixes of pixelated slideshows created by avid fans on YouTube, long before social media existed.\u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption alignnone\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"1499\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w\" sizes=\"(max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For F.A.B., it only felt right to resuscitate an important moment in Oakland’s rap history by providing a video. The idea first came together organically during F.A.B.’s birthday party earlier this year; G-Stack and Bavgate were in attendance. F.A.B. realized he had a film crew available that could do what he didn’t have the ability to do at 21 years old. So he locked it in.\u003c/p>\n\u003cp>“Documentation supersedes conversation,” says Mistah F.A.B., like a professor about to freestyle an entire dissertation. “When it’s locked in, there’s nothing to talk about. We here. You can see it for yourself. We just captured the moment.”\u003c/p>\n\u003cp>The video serves as a testament to not only what Oakland is right now, but what it felt like back then — if not in the physical form, then at least in the spiritual realm. Due to relentless waves of gentrification that have dismantled so many community hubs, it’s hard to imagine what this video might’ve looked like if it came out in ‘05 instead of ‘24. That’s not lost on the artist.\u003c/p>\n\u003cp>“Some of my friends that were there when we made this [song], they’re no longer living,” says F.A.B. Same for physical landmarks that are no longer here: “When I talk about Goldenville, that was a project building we all grew up in. Know what I’m saying? I would’ve loved to get those kinds of buildings and people in it.”\u003c/p>\n\u003cp>F.A.B. even admits that he initially thought the video could’ve worked in black and white. But he’s ultimately glad it’s in color. The energy and liveliness of contemporary Oakland is exactly what he had hoped to convey, without diluting it or hyperbolizing it.\u003c/p>\n\u003cp>“The directors did a hell of a job of capturing the energy,” F.A.B. says. “If you ever wanted to know what Oakland looks like, here it is.”\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>\u003ci>Mistah F.A.B. hosts \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cw0sNjAywbV/\">\u003ci>Thug Therapy\u003c/i>\u003c/a>\u003ci>, a mental health check-in for men, on first and third Wednesdays from 6 to 9 p.m. at Oakstop California Ballroom (1736 Franklin St., Oakland). The next event will be held on Wednesday, May 29 and feature Rick ‘Freeway Ricky’ Ross. Free entry, includes complimentary food and beverages.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957988/mistah-f-a-b-drops-n-e-w-oakland-music-video-nearly-20-years-later","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_5016","arts_10278","arts_13352","arts_1768","arts_1143","arts_974","arts_2533"],"featImg":"arts_13934346","label":"arts"},"arts_13958567":{"type":"posts","id":"arts_13958567","meta":{"index":"posts_1716263798","site":"arts","id":"13958567","found":true},"guestAuthors":[],"slug":"bottlerock-2024-photo-highlights-recap","title":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock","publishDate":1716834167,"format":"standard","headTitle":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It truly felt like the start of Hot Girl Summer this weekend, when tens of thousands of fans descended upon the Napa Valley Expo to see Megan Thee Stallion, Stevie Nicks, Pearl Jam and Ed Sheeran at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>. Taking place May 24–26, the Wine Country music festival paired a star-studded, multigenerational lineup with the region’s food and beverage offerings.\u003c/p>\n\u003cp>On Friday, Nelly served up 2000s hip-hop nostalgia, while St. Vincent serenaded the crowd with indie rock at once operatic, gritty and funky. Megan Thee Stallion telegraphed raw confidence and sexual power when she took the stage during her explosive Friday night set. On the opposite stage, Nicks, one of rock ’n’ roll’s all-time greats, had fans of all ages singing and swaying with nostalgia. [aside postid='arts_13958544']\u003c/p>\n\u003cp>Saturday represented a powerful moment of ascension for Vallejo hometown hero LaRussell, whose heartfelt rhymes charmed the crowd right before Pearl Jam headlined at sunset. Later in the evening, Kali Uchis’ pirouetting vocals enraptured the audience as she telegraphed goddess-like feminine power.\u003c/p>\n\u003cp>BottleRock closed out Sunday with Sheeran, high-octane ’90s rockers Queens of the Stone Age and mellow vibes from Stephen Marley. Photographer Estefany Gonzalez was there to capture all the moments of joy and musical celebration. Take a look at her highlights below.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13958587\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958592\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958591\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shanaya Stephenson, Crystal Nattoo, and Stephanie Yang wear anime-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958598\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958595\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Doyle (left) and her husband Caleb Schneider dance as Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958583\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Loveless performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958582\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Williams (left) and Anyei Smith pose for a portrait in their western-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. The two traveled from San Jose to attend the festival and decorated their cowboy hats by hand in honor of Texan artist Megan Thee Stallion. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958603\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958602\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958613\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alisha Mays (center) twerks from the crowd as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Luna (right) dances with friends in front of the Verizon Stage as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958617\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958620\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958621\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival-goers stroll across the vibrant grounds of BottleRock Napa Valley on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958622\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees sprawl across the lively expanse of BottleRock Napa Valley, soaking in the festival atmosphere on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bianca Del Rio, left, Neil Patrick Harris, and David Burtka host a panel at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">T-Pain performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Steph Curry signs 13-year-old Deven Patel’s sneakers on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of fans gather to watch Golden State Warriors’ Steph Curry, Bradley Cooper and Chef Jose Andrés on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958635\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-time BottleRock Attendees Allyson Van de Mark (right) and her husband Jacob Davis dance in front of the Truly Stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958637\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Deep Sea Diver performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958643\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Osmara Venegas, Marilyn Martin and Griselda Ochoa dance at the lively silent disco during BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958648\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock attendees lounge at the Spa at BottleRock Napa Valley festival on Sunday, May 26, 2024. The Spa allows BottleRock attendees to purchase foot and body massages, mini facials, hair styling and braiding, glitter makeup, custom festival jewelry, and hydration therapy for attendees to rest, recover or glam up. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Action Bronson performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Norah Jones performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958656\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958656\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958657\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Offspring performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958658\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ariel Thomas (left) and her 5-year-old daughter Aurora Duarte soak in The Offspring’s performance from the front row of the Verizon Stage at BottleRock Napa Valley festival on Sunday, May 26, 2024. The duo journeyed from Modesto for Duarte’s first concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (center) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (left) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958670\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958674\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Queens of the Stone Age perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958677\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13958600\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Napa music festival ushered in the summer with a star-studded lineup.","status":"publish","parent":0,"modified":1716834167,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":1260},"headData":{"title":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock | KQED","description":"The Napa music festival ushered in the summer with a star-studded lineup.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock","datePublished":"2024-05-27T11:22:47-07:00","dateModified":"2024-05-27T11:22:47-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958567","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958567/bottlerock-2024-photo-highlights-recap","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It truly felt like the start of Hot Girl Summer this weekend, when tens of thousands of fans descended upon the Napa Valley Expo to see Megan Thee Stallion, Stevie Nicks, Pearl Jam and Ed Sheeran at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>. Taking place May 24–26, the Wine Country music festival paired a star-studded, multigenerational lineup with the region’s food and beverage offerings.\u003c/p>\n\u003cp>On Friday, Nelly served up 2000s hip-hop nostalgia, while St. Vincent serenaded the crowd with indie rock at once operatic, gritty and funky. Megan Thee Stallion telegraphed raw confidence and sexual power when she took the stage during her explosive Friday night set. On the opposite stage, Nicks, one of rock ’n’ roll’s all-time greats, had fans of all ages singing and swaying with nostalgia. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958544","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday represented a powerful moment of ascension for Vallejo hometown hero LaRussell, whose heartfelt rhymes charmed the crowd right before Pearl Jam headlined at sunset. Later in the evening, Kali Uchis’ pirouetting vocals enraptured the audience as she telegraphed goddess-like feminine power.\u003c/p>\n\u003cp>BottleRock closed out Sunday with Sheeran, high-octane ’90s rockers Queens of the Stone Age and mellow vibes from Stephen Marley. Photographer Estefany Gonzalez was there to capture all the moments of joy and musical celebration. Take a look at her highlights below.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13958587\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958592\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958591\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shanaya Stephenson, Crystal Nattoo, and Stephanie Yang wear anime-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958598\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958595\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Doyle (left) and her husband Caleb Schneider dance as Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958583\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Loveless performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958582\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Williams (left) and Anyei Smith pose for a portrait in their western-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. The two traveled from San Jose to attend the festival and decorated their cowboy hats by hand in honor of Texan artist Megan Thee Stallion. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958603\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958602\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958613\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alisha Mays (center) twerks from the crowd as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Luna (right) dances with friends in front of the Verizon Stage as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958617\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958620\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958621\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival-goers stroll across the vibrant grounds of BottleRock Napa Valley on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958622\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees sprawl across the lively expanse of BottleRock Napa Valley, soaking in the festival atmosphere on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bianca Del Rio, left, Neil Patrick Harris, and David Burtka host a panel at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">T-Pain performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Steph Curry signs 13-year-old Deven Patel’s sneakers on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of fans gather to watch Golden State Warriors’ Steph Curry, Bradley Cooper and Chef Jose Andrés on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958635\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-time BottleRock Attendees Allyson Van de Mark (right) and her husband Jacob Davis dance in front of the Truly Stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958637\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Deep Sea Diver performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958643\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Osmara Venegas, Marilyn Martin and Griselda Ochoa dance at the lively silent disco during BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958648\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock attendees lounge at the Spa at BottleRock Napa Valley festival on Sunday, May 26, 2024. The Spa allows BottleRock attendees to purchase foot and body massages, mini facials, hair styling and braiding, glitter makeup, custom festival jewelry, and hydration therapy for attendees to rest, recover or glam up. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Action Bronson performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Norah Jones performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958656\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958656\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958657\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Offspring performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958658\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ariel Thomas (left) and her 5-year-old daughter Aurora Duarte soak in The Offspring’s performance from the front row of the Verizon Stage at BottleRock Napa Valley festival on Sunday, May 26, 2024. The duo journeyed from Modesto for Duarte’s first concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (center) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (left) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958670\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958674\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Queens of the Stone Age perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958677\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13958600\" alt=\"\">\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>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958567/bottlerock-2024-photo-highlights-recap","authors":["11387","11384"],"categories":["arts_1","arts_69"],"tags":["arts_1853","arts_10278"],"featImg":"arts_13958611","label":"arts"},"arts_13958735":{"type":"posts","id":"arts_13958735","meta":{"index":"posts_1716263798","site":"arts","id":"13958735","found":true},"guestAuthors":[],"slug":"film-is-dead-long-live-film-documentary-sf-docfest-peter-flynn","title":"Giving the Obsessive Film Collectors of the World Their Due","publishDate":1716938759,"format":"standard","headTitle":"Giving the Obsessive Film Collectors of the World Their Due | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Near the end of Peter Flynn’s documentary \u003ci>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/65fc004991176d075ea6fa66\">Film Is Dead. Long Live Film!\u003c/a>\u003c/i>, archivist Stan Taffel tells a story about attending the Los Angeles premiere of the 1922 Rudolph Valentino silent \u003ci>Beyond the Rocks\u003c/i>. Long believed to be lost to history, the film was rediscovered in the Netherlands in 2003. \u003c/p>\n\u003cp>Taffel congratulated the Nederlands Filmmuseum staff on their restoration work, and asked, “Who was the collector that had this film for those seven, eight decades?” They turned to each other, searching. “The one guy that actually saved the film, they didn’t know,” Taffel recounts. “Someone said, ‘Oh, he was some eccentric collector.’”\u003c/p>\n\u003cp>Repeating this last phrase, Taffel rolls his eyes at the camera. By this point in the 102-minute documentary, we have visited the storage units, kitchens, sheds and cozy screening rooms of over a dozen eccentric collectors. We’ve watched them crack open rusty film canisters, lovingly oil up old projectors and call out obscure titles from the middle of chaotic organizational systems. \u003c/p>\n\u003cfigure id=\"attachment_13958739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3.jpg\" alt=\"man holds strip of 16mm film in camera focus, his face out of focus\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stu Fink shows off 16mm film in Peter Flynn’s ‘Film Is Dead. Long Live Film!’\u003c/figcaption>\u003c/figure>\n\u003cp>We know, as Taffel does, that if not for these collectors, much of the grain of everyday life, as captured on film, would have long ago disappeared. Film collectors have rescued not only major motion pictures, but home movies, snipes (anything that’s not a movie or a trailer, like a snack bar promo), kinescopes (films made from live TV broadcasts), educational films and more. \u003c/p>\n\u003cp>Some of the most interesting scenes in \u003ci>Film Is Dead\u003c/i> come from joining collectors on the hunt, their flashlights peeking into sealed up drive-in theaters for anything that survived. Especially since the odds are stacked against them. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stu Fink, often smoking a fat cigar, details all the things that can degrade or destroy film if it’s not taken care of properly. “That’s … a lot,” he says before launching into a delightful crash course in various film gauges, nitrate versus safety film, and the acidic gasses that cause all of the above to decompose. (Collectors are caught sniffing for dreaded \u003ca href=\"https://en.wikipedia.org/wiki/Vinegar_syndrome\">vinegar syndrome\u003c/a> throughout.)\u003c/p>\n\u003cfigure id=\"attachment_13958740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36.jpg\" alt=\"35mm film strip showing 'Lady and the Tramp' title and 'end part 5'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abandoned film in Midland, North Carolina in a still from ‘Film Is Dead. Long Live Film!’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ultimately we’re just temporary custodians of all this stuff,” Fink says philosophically. “We have a responsibility, I think, to pass it on in as good a shape as we can, so down the line someone else can make good use of it.” Sometimes, the documentary notes, this has put film collectors on the wrong side of the law, leading to FBI raids, tapped phones and even convictions.\u003c/p>\n\u003cp>[aside postID='news_11980380']Local film archivist Rick Prelinger makes a brief appearance arguing for a loosening of these proprietary ideas. “Exclusivity and scarcity doesn’t get you anywhere,” Prelinger says between clips from a \u003ci>Lost Landscapes of San Francisco\u003c/i> screening at the Castro. “It isn’t just about showing and preserving, it’s about actively thinking of new ways to work with this material.”\u003c/p>\n\u003cp>The film collectors at the center of Flynn’s documentary do an excellent job of not only sharing their enthusiasm but convincing audiences that this strange, obsessive impulse to sometimes hoard antiquated media is an important and worthwhile thing. While nearly all the collectors are white men, there are several examples of rescued films that capture pivotal moments in the Black American experience, and have reached new audiences through \u003ca href=\"https://www.maysles.org/calendar/harlem-theater\">public screenings\u003c/a> and \u003ca href=\"https://archive.org/details/Felicia1965\">online distribution\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958742\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10.jpg\" alt=\"child winds a film reel under instruction of a man with a beard\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Crooks, director of operations at the Ambler Theatre, shows his son how to wind and unwind film. \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the documentary, we visit historian Eric Grayson at work on \u003ci>The King of the Kongo\u003c/i> (1929), the first sound serial, which he compiled from 71 reels of film, 17 sound discs, three collectors and two film archives. At one point Grayson lets out the documentary’s largest sigh, well earned. \u003c/p>\n\u003cp>Flynn leaves the question hanging: are future generations are up to tasks like these, especially without a childhood connection to film? \u003ci>Film Is Dead. Long Live Film!\u003c/i> is instead a eulogy to a certain type of person, an AV guy (“film collecting is primarily a male disorder,” Fink says) gone rogue, who collects to preserve, but also, on some level, to \u003ci>have\u003c/i> what others do not. And every so often, thanks to that monomaniacal impulse, we, the audience, gain immensely.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/65fc004991176d075ea6fa66\">Film Is Dead. Long Live Film!\u003c/a>’ screens May 31, 6 p.m. at the Roxie Theater as part of SF DocFest. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Peter Flynn’s documentary ‘Film Is Dead. Long Live Film!’ honors those who save cinematic history.","status":"publish","parent":0,"modified":1716938915,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":807},"headData":{"title":"Giving the Obsessive Film Collectors of the World Their Due | KQED","description":"Peter Flynn’s documentary ‘Film Is Dead. Long Live Film!’ honors those who save cinematic history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Giving the Obsessive Film Collectors of the World Their Due","datePublished":"2024-05-28T16:25:59-07:00","dateModified":"2024-05-28T16:28:35-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"giving-the-obsessive-film-collectors-of-the-world-their-due","nprStoryId":"kqed-13958735","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958735/film-is-dead-long-live-film-documentary-sf-docfest-peter-flynn","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near the end of Peter Flynn’s documentary \u003ci>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/65fc004991176d075ea6fa66\">Film Is Dead. Long Live Film!\u003c/a>\u003c/i>, archivist Stan Taffel tells a story about attending the Los Angeles premiere of the 1922 Rudolph Valentino silent \u003ci>Beyond the Rocks\u003c/i>. Long believed to be lost to history, the film was rediscovered in the Netherlands in 2003. \u003c/p>\n\u003cp>Taffel congratulated the Nederlands Filmmuseum staff on their restoration work, and asked, “Who was the collector that had this film for those seven, eight decades?” They turned to each other, searching. “The one guy that actually saved the film, they didn’t know,” Taffel recounts. “Someone said, ‘Oh, he was some eccentric collector.’”\u003c/p>\n\u003cp>Repeating this last phrase, Taffel rolls his eyes at the camera. By this point in the 102-minute documentary, we have visited the storage units, kitchens, sheds and cozy screening rooms of over a dozen eccentric collectors. We’ve watched them crack open rusty film canisters, lovingly oil up old projectors and call out obscure titles from the middle of chaotic organizational systems. \u003c/p>\n\u003cfigure id=\"attachment_13958739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3.jpg\" alt=\"man holds strip of 16mm film in camera focus, his face out of focus\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_Image3-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stu Fink shows off 16mm film in Peter Flynn’s ‘Film Is Dead. Long Live Film!’\u003c/figcaption>\u003c/figure>\n\u003cp>We know, as Taffel does, that if not for these collectors, much of the grain of everyday life, as captured on film, would have long ago disappeared. Film collectors have rescued not only major motion pictures, but home movies, snipes (anything that’s not a movie or a trailer, like a snack bar promo), kinescopes (films made from live TV broadcasts), educational films and more. \u003c/p>\n\u003cp>Some of the most interesting scenes in \u003ci>Film Is Dead\u003c/i> come from joining collectors on the hunt, their flashlights peeking into sealed up drive-in theaters for anything that survived. Especially since the odds are stacked against them. \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>Stu Fink, often smoking a fat cigar, details all the things that can degrade or destroy film if it’s not taken care of properly. “That’s … a lot,” he says before launching into a delightful crash course in various film gauges, nitrate versus safety film, and the acidic gasses that cause all of the above to decompose. (Collectors are caught sniffing for dreaded \u003ca href=\"https://en.wikipedia.org/wiki/Vinegar_syndrome\">vinegar syndrome\u003c/a> throughout.)\u003c/p>\n\u003cfigure id=\"attachment_13958740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36.jpg\" alt=\"35mm film strip showing 'Lady and the Tramp' title and 'end part 5'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/VF_36-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abandoned film in Midland, North Carolina in a still from ‘Film Is Dead. Long Live Film!’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ultimately we’re just temporary custodians of all this stuff,” Fink says philosophically. “We have a responsibility, I think, to pass it on in as good a shape as we can, so down the line someone else can make good use of it.” Sometimes, the documentary notes, this has put film collectors on the wrong side of the law, leading to FBI raids, tapped phones and even convictions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11980380","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Local film archivist Rick Prelinger makes a brief appearance arguing for a loosening of these proprietary ideas. “Exclusivity and scarcity doesn’t get you anywhere,” Prelinger says between clips from a \u003ci>Lost Landscapes of San Francisco\u003c/i> screening at the Castro. “It isn’t just about showing and preserving, it’s about actively thinking of new ways to work with this material.”\u003c/p>\n\u003cp>The film collectors at the center of Flynn’s documentary do an excellent job of not only sharing their enthusiasm but convincing audiences that this strange, obsessive impulse to sometimes hoard antiquated media is an important and worthwhile thing. While nearly all the collectors are white men, there are several examples of rescued films that capture pivotal moments in the Black American experience, and have reached new audiences through \u003ca href=\"https://www.maysles.org/calendar/harlem-theater\">public screenings\u003c/a> and \u003ca href=\"https://archive.org/details/Felicia1965\">online distribution\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958742\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10.jpg\" alt=\"child winds a film reel under instruction of a man with a beard\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LLF_IMAGE_10-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Crooks, director of operations at the Ambler Theatre, shows his son how to wind and unwind film. \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the documentary, we visit historian Eric Grayson at work on \u003ci>The King of the Kongo\u003c/i> (1929), the first sound serial, which he compiled from 71 reels of film, 17 sound discs, three collectors and two film archives. At one point Grayson lets out the documentary’s largest sigh, well earned. \u003c/p>\n\u003cp>Flynn leaves the question hanging: are future generations are up to tasks like these, especially without a childhood connection to film? \u003ci>Film Is Dead. Long Live Film!\u003c/i> is instead a eulogy to a certain type of person, an AV guy (“film collecting is primarily a male disorder,” Fink says) gone rogue, who collects to preserve, but also, on some level, to \u003ci>have\u003c/i> what others do not. And every so often, thanks to that monomaniacal impulse, we, the audience, gain immensely.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/65fc004991176d075ea6fa66\">Film Is Dead. Long Live Film!\u003c/a>’ screens May 31, 6 p.m. at the Roxie Theater as part of SF DocFest. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958735/film-is-dead-long-live-film-documentary-sf-docfest-peter-flynn","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_21958","arts_10278","arts_977","arts_585"],"featImg":"arts_13958741","label":"arts_140"},"arts_13958707":{"type":"posts","id":"arts_13958707","meta":{"index":"posts_1716263798","site":"arts","id":"13958707","found":true},"guestAuthors":[],"slug":"emil-ferris-my-favorite-thing-is-monsters-book-2-review-graphic-novels","title":"Emil Ferris Tackles Big Issues Through a Small Child With a Monster Obsession","publishDate":1716925147,"format":"aside","headTitle":"Emil Ferris Tackles Big Issues Through a Small Child With a Monster Obsession | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13958708\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png\" alt=\"A book cover featuring a sketch of a small child's face with thick head of hair and fangs.\" width=\"962\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-800x1010.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-768x969.png 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">‘My Favorite Thing Is Monsters Book Two’ by Emil Ferris. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two types of monsters: Ones that simply appear scary and ones that are scary by their cruelty. Karen Reyes is the former, but what does that make her troubled older brother, Deeze?\u003c/p>\n\u003cp>Emil Ferris has finally followed up on her visually stunning, 2017 debut graphic novel with its concluding half, \u003ca href=\"https://www.fantagraphics.com/products/my-favorite-thing-is-monsters-book-two\">\u003cem>My Favorite Thing Is Monsters Book 2\u003c/em>\u003c/a>. It picks up right where \u003cem>Book 1\u003c/em> left off (spoilers for \u003cem>Book 1\u003c/em> … now), with 10-year-old Karen in a fever dream as she processes her mother’s death from cancer and the revelation that she had another brother named Victor before his twin Deeze killed him.\u003c/p>\n\u003cp>[aside postid='arts_13939131']For the uninitiated, the story is essentially Karen’s diary as she dons a detective hat and oversized coat to solve mysteries — like who killed the upstairs neighbor and where her emaciated classmate disappeared to — in 1968 Chicago, featuring historical events like the Rev. Martin Luther King Jr.’s assassination and Vietnam War protests. Karen, a monster-loving Catholic school student who identifies more with werewolves than with girls, sketches her experiences in lined notebooks. She has an astounding ability to capture people — a technically skilled artist who also sees through her subjects and depicts their nature alongside their features. And she’s gay, something her beloved Mama definitely did not approve of and which she must now reconcile with the society she lives in.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> may be narrated by a kid, but it is definitely an adult book with adult language and themes. Ferris raises complicated issues ranging from the patriarchy’s role in homophobia and America’s role in eugenics to the merits of capitalism, socialism and communism. Along with why school sucks.\u003c/p>\n\u003cp>And I cannot give Ferris enough accolades for acknowledging the depth of children, who often see and understand more than most adults want to admit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ferris revels in gray areas and often calls taboos and moral lines into question, using Karen’s elementary-age perspective as an opportunity to see people not as their profession, race or sexuality, but as people — or, in any case, monsters, but equalizing regardless.\u003c/p>\n\u003cp>Although \u003cem>Book 2\u003c/em> has an introduction and brief callbacks to remind readers who’s who and what happened, it’s really best to read or reread \u003cem>Book 1\u003c/em> first. There are tons of characters at play and it’s a multi-faceted story that requires deep reading. The recaps are decent reminders, but they can’t possibly capture the nuance from \u003cem>Book 1\u003c/em> in just a page or two.\u003c/p>\n\u003cp>[aside postid='arts_13930727']If \u003cem>Book 2\u003c/em> seems almost too familiar, that’s because it follows the same basic plot arc as \u003cem>Book 1\u003c/em>, even down to starting and ending with wild dreams. But unlike its prequel, the plot jumps around with considerably more frequency and suddenness. Ferris leans on her readers to read between the lines and apply the same techniques for viewing her art that her characters use when they visit the Art Institute of Chicago.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> is an incredible feat of both storytelling and artistic achievement that makes for a brag-worthy coffee table art book, as well as a compelling story with a seriously intense moral and philosophical workout. Ferris is a must-have for any comic-lover’s collection.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris is released via Fantagraphics on May 28, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘My Favorite Thing Is Monsters Book 2’ is an incredible feat of storytelling and artistic achievement.","status":"publish","parent":0,"modified":1716925147,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":599},"headData":{"title":"Review: ‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris | KQED","description":"‘My Favorite Thing Is Monsters Book 2’ is an incredible feat of storytelling and artistic achievement.","ogTitle":"Emil Ferris Tackles Big Issues Through a Small Child With a Monster Obsession","ogDescription":"","ogImgId":"","twTitle":"Emil Ferris Tackles Big Issues Through a Small Child With a Monster Obsession","twDescription":"","twImgId":"","socialTitle":"Review: ‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Emil Ferris Tackles Big Issues Through a Small Child With a Monster Obsession","datePublished":"2024-05-28T12:39:07-07:00","dateModified":"2024-05-28T12:39:07-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Donna Edwards, Associated Press","nprStoryId":"kqed-13958707","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958707/emil-ferris-my-favorite-thing-is-monsters-book-2-review-graphic-novels","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958708\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png\" alt=\"A book cover featuring a sketch of a small child's face with thick head of hair and fangs.\" width=\"962\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-800x1010.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-768x969.png 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">‘My Favorite Thing Is Monsters Book Two’ by Emil Ferris. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two types of monsters: Ones that simply appear scary and ones that are scary by their cruelty. Karen Reyes is the former, but what does that make her troubled older brother, Deeze?\u003c/p>\n\u003cp>Emil Ferris has finally followed up on her visually stunning, 2017 debut graphic novel with its concluding half, \u003ca href=\"https://www.fantagraphics.com/products/my-favorite-thing-is-monsters-book-two\">\u003cem>My Favorite Thing Is Monsters Book 2\u003c/em>\u003c/a>. It picks up right where \u003cem>Book 1\u003c/em> left off (spoilers for \u003cem>Book 1\u003c/em> … now), with 10-year-old Karen in a fever dream as she processes her mother’s death from cancer and the revelation that she had another brother named Victor before his twin Deeze killed him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939131","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For the uninitiated, the story is essentially Karen’s diary as she dons a detective hat and oversized coat to solve mysteries — like who killed the upstairs neighbor and where her emaciated classmate disappeared to — in 1968 Chicago, featuring historical events like the Rev. Martin Luther King Jr.’s assassination and Vietnam War protests. Karen, a monster-loving Catholic school student who identifies more with werewolves than with girls, sketches her experiences in lined notebooks. She has an astounding ability to capture people — a technically skilled artist who also sees through her subjects and depicts their nature alongside their features. And she’s gay, something her beloved Mama definitely did not approve of and which she must now reconcile with the society she lives in.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> may be narrated by a kid, but it is definitely an adult book with adult language and themes. Ferris raises complicated issues ranging from the patriarchy’s role in homophobia and America’s role in eugenics to the merits of capitalism, socialism and communism. Along with why school sucks.\u003c/p>\n\u003cp>And I cannot give Ferris enough accolades for acknowledging the depth of children, who often see and understand more than most adults want to admit.\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>Ferris revels in gray areas and often calls taboos and moral lines into question, using Karen’s elementary-age perspective as an opportunity to see people not as their profession, race or sexuality, but as people — or, in any case, monsters, but equalizing regardless.\u003c/p>\n\u003cp>Although \u003cem>Book 2\u003c/em> has an introduction and brief callbacks to remind readers who’s who and what happened, it’s really best to read or reread \u003cem>Book 1\u003c/em> first. There are tons of characters at play and it’s a multi-faceted story that requires deep reading. The recaps are decent reminders, but they can’t possibly capture the nuance from \u003cem>Book 1\u003c/em> in just a page or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930727","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If \u003cem>Book 2\u003c/em> seems almost too familiar, that’s because it follows the same basic plot arc as \u003cem>Book 1\u003c/em>, even down to starting and ending with wild dreams. But unlike its prequel, the plot jumps around with considerably more frequency and suddenness. Ferris leans on her readers to read between the lines and apply the same techniques for viewing her art that her characters use when they visit the Art Institute of Chicago.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> is an incredible feat of both storytelling and artistic achievement that makes for a brag-worthy coffee table art book, as well as a compelling story with a seriously intense moral and philosophical workout. Ferris is a must-have for any comic-lover’s collection.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris is released via Fantagraphics on May 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958707/emil-ferris-my-favorite-thing-is-monsters-book-2-review-graphic-novels","authors":["byline_arts_13958707"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_7584","arts_10629","arts_769","arts_585"],"featImg":"arts_13958709","label":"arts_140"},"arts_13956246":{"type":"posts","id":"arts_13956246","meta":{"index":"posts_1716263798","site":"arts","id":"13956246","found":true},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1713551661,"format":"audio","title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","headTitle":"The Stud, SF’s Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","content":"\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>[aside postid='arts_13936556']\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. [aside postid='arts_13953497']\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1384,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":24},"modified":1714495007,"excerpt":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","datePublished":"2024-04-19T11:34:21-07:00","dateModified":"2024-04-30T09:36:47-07:00","image":"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68589_230905-TheStudReopening-42-BL-qut-1020x680.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"},{"type":"authors","id":"11672","meta":{"index":"authors_1716337520","id":"11672","found":true},"name":"Adhiti Bandlamudi","firstName":"Adhiti","lastName":"Bandlamudi","slug":"abandlamudi","email":"abandlamudi@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"KQED Housing Reporter","bio":"Adhiti Bandlamudi reports for KQED's Housing desk. She focuses on how housing gets built across the Bay Area. Before joining KQED in 2020, she reported for WUNC in Durham, North Carolina, WABE in Atlanta, Georgia and Capital Public Radio in Sacramento. In 2017, she was awarded a Kroc Fellowship at NPR where she reported on everything from sprinkles to the Golden State Killer's arrest. When she's not reporting, she's baking new recipes in her kitchen or watching movies with friends and family. She's originally from Georgia and has strong opinions about Great British Bake Off.","avatar":"https://secure.gravatar.com/avatar/868129c8b257bb99a3500e2c86a65400?s=600&d=blank&r=g","twitter":"oddity_adhiti","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Adhiti Bandlamudi | KQED","description":"KQED Housing Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/868129c8b257bb99a3500e2c86a65400?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/868129c8b257bb99a3500e2c86a65400?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/abandlamudi"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68589_230905-TheStudReopening-42-BL-qut-1020x680.jpg","width":1020,"mimeType":"image/jpeg","height":680},"ogImageWidth":"1020","ogImageHeight":"680","twitterImageUrl":"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68589_230905-TheStudReopening-42-BL-qut-1020x680.jpg","twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68589_230905-TheStudReopening-42-BL-qut-1020x680.jpg","width":1020,"mimeType":"image/jpeg","height":680},"twitterCard":"summary_large_image"},"tagData":{"tags":["editorspick","featured-arts","lgbtq","nightlife","San Francisco"]}},"guestAuthors":[],"slug":"the-stud-san-francisco-lgbtq-bar-reopening","status":"publish","templateType":"standard","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7fc79c25-862e-45d6-a298-b157011425d9/audio.mp3","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13956246","path":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\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>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936556","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\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>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","authors":["11387","11672"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_3226","arts_5351","arts_1146"],"featImg":"arts_13934323","label":"arts","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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