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"title": "A Buddhist Priest Weighs in on Beauty and Bay Area Style",
"headTitle": "A Buddhist Priest Weighs in on Beauty and Bay Area Style | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about Bay Area fashion and personal expression. Find other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Enrobed in rich brown and deep green, Gengo Akiba takes a few patient moments to neatly tuck the fabric of his kimono around his crossed legs. Mid-morning sunlight diffuses through the latticed windows of the zendo — a building dedicated to meditation — and Akiba closes his eyes in its soft glow.\u003c/p>\n\u003cp>[aside postID='arts_13938519']The 81-year-old abbot of the \u003ca href=\"https://oaklandzencenter.org/\">Kojin-an Oakland Zen Center\u003c/a> is exactly who you might picture when you imagine an elderly Japanese priest: shaved head, small stature and the lighthearted chuckle of a person who’s made peace with the transient nature of existence. His presence, scaffolded by sturdy, rounded shoulders and gently folded hands, is buoyant and powerful all at once.\u003c/p>\n\u003cp>And he’s also got thoughts on beauty, fashion and regional style. (Kei Matsuda, who has been coming to the temple for decades now, translated for Akiba in late December as the abbot sipped on a mug of green tea.)\u003c/p>\n\u003cfigure id=\"attachment_13939857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba helped open the Kojin-an Oakland Zen Center in 1983; it moved to its present Rockridge location in 1990. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After spending a week in Japan, I get bored of the way people dress,” Akiba says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A take even hotter than the genmaicha Akiba’s drinking, but more on that later.\u003c/p>\n\u003cp>Akiba folds himself into ceremonial linen and cotton every Sunday for a 40-minute meditation at the Oakland Zen Center, where he has served as the abbot for almost 30 years. When he lights incense and leads chants, his sumptuous robes float around him. Lengthy kimono sleeves rustle as he laughs and gesticulates about the temple’s feline residents during his morning speech.\u003c/p>\n\u003cp>“What I wear in the zendo is a formal attire for priests,” Akiba says. “And that definitely makes me more aware of my role as priest and sort of prepares me for performing that role.”\u003c/p>\n\u003cp>Historically, Buddhist priests have sewn their own robes from donated scraps of fabric. Akiba’s priest-wear are no rags, but they were gifted to him by friends, he says.\u003c/p>\n\u003cfigure id=\"attachment_13939858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg\" alt=\"A person wears brown and blue clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba wraps himself in his ceremonial kesa. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over his brown kimono, Akiba drapes one shoulder and his torso with a \u003ca href=\"https://risdmuseum.org/exhibitions-events/exhibitions/kesa\">kesa\u003c/a> — a rectangular shawl stitched together carefully with smaller vertical and horizontal rectangles of fabric.\u003c/p>\n\u003cp>“The kesa is the part that’s most visible and perhaps the most important,” Akiba says. “The basic color is brown — that’s a very typical color for the kesa.”\u003c/p>\n\u003cp>While brown and black are common colors worn by priests to signify a renunciation of worldly desires and pleasures, Akiba’s kesa is the deep green of dried tea leaves. His status as a priest means he gets to choose what color he wears, he says. Around his neck is a rakusu, a rectangle of fabric that is a literal representation of Buddha’s robe.\u003c/p>\n\u003cp>Akiba’s clothes are beautiful, without a doubt. And yet Akiba isn’t very concerned about beauty.\u003c/p>\n\u003cp>“I don’t really look at that uniform every time like, ‘oh, this part is beautiful,’ or anything like that — that’s just what I wear,” he says.\u003c/p>\n\u003cp>But for Akiba, it’s possible to appreciate beauty in clothes, in nature and in people without clinging to it.\u003c/p>\n\u003cfigure id=\"attachment_13939964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba was installed as abbot at Kojin-an Oakland Zen Center in 1994. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beauty has a function in rituals and for people performing or attending rituals,” he says, “That is important, but it shouldn’t be the focus of attachment.”\u003c/p>\n\u003cp>And that “contradiction between simplicity and opulence,” as Akiba puts it, plays out in what he wears, too.\u003c/p>\n\u003cp>His ceremony-wear — draping and buttery, but also earthy and muted — is sumptuous and plain all at once. It’s a tension befitting the spiritual multiplicity of Zen, which holds beauty and its transience all at once.\u003c/p>\n\u003cp>When Akiba is clearing crumbly piles of fall leaves from the yard or carrying groceries on a long walk home, he trades his robes for samue, a more casual kimono and pants set that’s traditionally worn by priests but has been adopted by non-religious folks in Japan too.\u003c/p>\n\u003cfigure id=\"attachment_13939965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg\" alt=\"A person wears brown and blue clothing in a natural setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba in his workwear. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the cold months of the year, he layers a Uniqlo down vest and a knit button-up shirt under the kimono top and tucks a blue knit beanie over his bald head.\u003c/p>\n\u003cp>In spite of how casual the samue is, there’s a pleasing throughline that joins Akiba’s workwear with his ceremonial robes, like the neat stitches that join the panels of linen on his rakusu. His workwear set echoes the rich brown of his robes and are also flawlessly proportional to his short stature. The false white collar that he wears under his abbot’s clothes also peeks out from under his samue, and another rakusu — this one blue — hangs from his neck.\u003c/p>\n\u003cp>When Akiba takes regular walks around his Oakland neighborhood in his samue and beanie, the Buddhist priest says he’s highly entertained by the parade of people and clothes he encounters.\u003c/p>\n\u003cfigure id=\"attachment_13939856\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg\" alt=\"Two photos side by side of brown and blue clothing is seen in detail in a wooden area.\" width=\"2500\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1536x506.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-2048x675.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1920x633.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Akiba displays his rakusu. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I go to Tokyo and the train stations are full of people, there are men and women dressed very fashionably in different colors and different styles,” he says. “But they also look the same to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While people in Japan are fairly dressy and formal, he says, Bay Area folks dress comfortably and casually: “And I think that actually is more revealing of who each person is.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 81-year-old abbot of the \u003ca href=\"https://oaklandzencenter.org/\">Kojin-an Oakland Zen Center\u003c/a> is exactly who you might picture when you imagine an elderly Japanese priest: shaved head, small stature and the lighthearted chuckle of a person who’s made peace with the transient nature of existence. His presence, scaffolded by sturdy, rounded shoulders and gently folded hands, is buoyant and powerful all at once.\u003c/p>\n\u003cp>And he’s also got thoughts on beauty, fashion and regional style. (Kei Matsuda, who has been coming to the temple for decades now, translated for Akiba in late December as the abbot sipped on a mug of green tea.)\u003c/p>\n\u003cfigure id=\"attachment_13939857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba helped open the Kojin-an Oakland Zen Center in 1983; it moved to its present Rockridge location in 1990. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After spending a week in Japan, I get bored of the way people dress,” Akiba says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A take even hotter than the genmaicha Akiba’s drinking, but more on that later.\u003c/p>\n\u003cp>Akiba folds himself into ceremonial linen and cotton every Sunday for a 40-minute meditation at the Oakland Zen Center, where he has served as the abbot for almost 30 years. When he lights incense and leads chants, his sumptuous robes float around him. Lengthy kimono sleeves rustle as he laughs and gesticulates about the temple’s feline residents during his morning speech.\u003c/p>\n\u003cp>“What I wear in the zendo is a formal attire for priests,” Akiba says. “And that definitely makes me more aware of my role as priest and sort of prepares me for performing that role.”\u003c/p>\n\u003cp>Historically, Buddhist priests have sewn their own robes from donated scraps of fabric. Akiba’s priest-wear are no rags, but they were gifted to him by friends, he says.\u003c/p>\n\u003cfigure id=\"attachment_13939858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg\" alt=\"A person wears brown and blue clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba wraps himself in his ceremonial kesa. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over his brown kimono, Akiba drapes one shoulder and his torso with a \u003ca href=\"https://risdmuseum.org/exhibitions-events/exhibitions/kesa\">kesa\u003c/a> — a rectangular shawl stitched together carefully with smaller vertical and horizontal rectangles of fabric.\u003c/p>\n\u003cp>“The kesa is the part that’s most visible and perhaps the most important,” Akiba says. “The basic color is brown — that’s a very typical color for the kesa.”\u003c/p>\n\u003cp>While brown and black are common colors worn by priests to signify a renunciation of worldly desires and pleasures, Akiba’s kesa is the deep green of dried tea leaves. His status as a priest means he gets to choose what color he wears, he says. Around his neck is a rakusu, a rectangle of fabric that is a literal representation of Buddha’s robe.\u003c/p>\n\u003cp>Akiba’s clothes are beautiful, without a doubt. And yet Akiba isn’t very concerned about beauty.\u003c/p>\n\u003cp>“I don’t really look at that uniform every time like, ‘oh, this part is beautiful,’ or anything like that — that’s just what I wear,” he says.\u003c/p>\n\u003cp>But for Akiba, it’s possible to appreciate beauty in clothes, in nature and in people without clinging to it.\u003c/p>\n\u003cfigure id=\"attachment_13939964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba was installed as abbot at Kojin-an Oakland Zen Center in 1994. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beauty has a function in rituals and for people performing or attending rituals,” he says, “That is important, but it shouldn’t be the focus of attachment.”\u003c/p>\n\u003cp>And that “contradiction between simplicity and opulence,” as Akiba puts it, plays out in what he wears, too.\u003c/p>\n\u003cp>His ceremony-wear — draping and buttery, but also earthy and muted — is sumptuous and plain all at once. It’s a tension befitting the spiritual multiplicity of Zen, which holds beauty and its transience all at once.\u003c/p>\n\u003cp>When Akiba is clearing crumbly piles of fall leaves from the yard or carrying groceries on a long walk home, he trades his robes for samue, a more casual kimono and pants set that’s traditionally worn by priests but has been adopted by non-religious folks in Japan too.\u003c/p>\n\u003cfigure id=\"attachment_13939965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg\" alt=\"A person wears brown and blue clothing in a natural setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba in his workwear. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the cold months of the year, he layers a Uniqlo down vest and a knit button-up shirt under the kimono top and tucks a blue knit beanie over his bald head.\u003c/p>\n\u003cp>In spite of how casual the samue is, there’s a pleasing throughline that joins Akiba’s workwear with his ceremonial robes, like the neat stitches that join the panels of linen on his rakusu. His workwear set echoes the rich brown of his robes and are also flawlessly proportional to his short stature. The false white collar that he wears under his abbot’s clothes also peeks out from under his samue, and another rakusu — this one blue — hangs from his neck.\u003c/p>\n\u003cp>When Akiba takes regular walks around his Oakland neighborhood in his samue and beanie, the Buddhist priest says he’s highly entertained by the parade of people and clothes he encounters.\u003c/p>\n\u003cfigure id=\"attachment_13939856\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg\" alt=\"Two photos side by side of brown and blue clothing is seen in detail in a wooden area.\" width=\"2500\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1536x506.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-2048x675.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1920x633.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Akiba displays his rakusu. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I go to Tokyo and the train stations are full of people, there are men and women dressed very fashionably in different colors and different styles,” he says. “But they also look the same to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While people in Japan are fairly dressy and formal, he says, Bay Area folks dress comfortably and casually: “And I think that actually is more revealing of who each person is.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Grammy Awards",
"headTitle": "Red Carpet Looks From the 2024 Grammy Awards | KQED",
"content": "\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco",
"headTitle": "‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco | KQED",
"content": "\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mistah-fab-week-oakland-2024",
"title": "For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events",
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"headTitle": "For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events | KQED",
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"content": "\u003cp>What started as a series of parties called F.A.B. Week to mark Mistah F.A.B.’s 40th birthday has evolved into a full-blown annual festival that the Oakland rap star, entrepreneur and community organizer puts on for his hometown — pretty much single-handedly.\u003c/p>\n\u003cp>“I’m not gonna lie and make it seem like I’m not overwhelmed at times,” says Mistah F.A.B., now almost 42, while laying down verses for an upcoming album at Studio X. As proof, his phone goes off every 30 seconds with calls about F.A.B. Week, fatherhood duties and musical collaborations. “But I know that in the beginning of your creations you have to do the pottery. And that’s where we are. … Hopefully the clay can withstand.”\u003c/p>\n\u003cp>[aside postid='arts_13929461']F.A.B. Week kicks off Monday, Jan. 22, with a ribbon-cutting ceremony for a new \u003ca href=\"https://www.instagram.com/p/C2RFKB7LevT/\">Mistah F.A.B. mural\u003c/a> by Airballin and Steven Anderson on 45th and Market Streets, where Mistah F.A.B. grew up, and a \u003ca href=\"https://www.eventbrite.com/e/know-your-lane-celebrity-bowling-too-hort-gary-payton-tickets-792692694187?aff=erelpanelorg\">“Know Your Lane” bowling party\u003c/a> at Plank in Jack London Square with celebrity guests Too Short and Gary Payton. Events continue daily through Jan. 28, with a \u003ca href=\"https://www.kron4.com/community/calendar/?_escaped_fragment_=/show/?start=2022-04-26#!/details/Fab-Week-2024-Dope-Era-Comedy-Show-HaHa-Davis-Hosted-by-Lewis-Belt/12965871/2024-01-23T20\">comedy night starring HaHa Davis\u003c/a> on Jan. 23 at Tommy T’s in Pleasanton and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-baytl-skate-night-dj-esco-in-the-mix-21-tickets-791928588727?aff=erelpanelorg\">Bay-TL Skate Party\u003c/a> with Future’s DJ and producer DJ Esco on Jan. 24 at the Henry J. Kaiser Auditorium in Oakland.\u003c/p>\n\u003cp>On Jan. 25, F.A.B. will bring a ’90s mobb music revival (and some hyphy) to the long-running \u003ca href=\"https://www.eventbrite.com/e/remember-the-nights-3xkrazy-the-delinquents-dru-down-black-c-the-team-tickets-795546118857?aff=erelpanelorg\">San Francisco hip-hop party City Nights\u003c/a>, with performances by 3XKrazy, The Delinquents, Dru Down, Black C of RBL Posse and The Team.\u003c/p>\n\u003cp>Festivities continue with a fashion show at Mistah F.A.B.’s downtown Oakland nightclub Dezi’s on Jan. 26, produced by celebrity stylist Mario B. “He’s a huge advocate and spokesman for the LGBTQ community,” F.A.B. says, noting the importance of unity. “To me that partnership was about, ‘Aye, we all here. We all together.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13950363']The week will wrap with a car show and \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-sneaker-prom-tickets-797092905337?aff=ebdsoporgprofile\">Sneaker Prom party\u003c/a> at Oakstop’s historic California Ballroom on Jan. 27, and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-big-facts-brunch-w-babyjade-bigbankatl-and-djscream-tickets-804064557737?aff=ebdsoporgprofile\">Big Facts Brunch\u003c/a> at ForTheCulture in Old Oakland and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-celebrity-basketball-game-tickets-797938334037?aff=ebdsoporgprofile\">celebrity basketball game\u003c/a> at Oakland Technical High School on Jan. 28.\u003c/p>\n\u003cp>With Oakland’s wealth inequality and resulting struggles with crime regularly in the news, F.A.B. says he wants to shine a light on the city as a creative powerhouse.\u003c/p>\n\u003cp>“All we hear about Oakland is that it’s this dangerous place, it’s Gotham City,” he says. “They don’t talk about the beauty of the city. They don’t talk about the brilliant minds that still lay here. They don’t talk about the art diaspora, the musical expression, the businesses that are still thriving even in the midst of all of these negative things.”\u003c/p>\n\u003cp>[aside postid='arts_13950392']Mistah F.A.B. has a hand in pretty much all those categories. The Dope Era boutique owner and veteran artist who helped spearhead the hyphy movement of the 2000s has put in decades of work as a philanthropist and community organizer. Most recently, he’s ramped up his \u003ca href=\"https://oaklandside.org/2023/10/30/oakland-hip-hop-mental-health-black-men-group-therapy/\">Thug Therapy\u003c/a> men’s support and mentorship groups (“thug” standing for “teaching, helping, uniting and guiding”), along with an analogous Tea Time for women. He’s working on getting the programs into Oakland schools, with a long-term goal to create his own Dope Era Academy youth center and offer free access to arts, professional development and social support.\u003c/p>\n\u003cp>“I’m just trying to keep growing and putting the work in,” Mistah F.A.B. says. “Not really worrying about the scoreboard, but just continuing to put points up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>F.A.B. Week runs Monday–Sunday, Jan. 22–28. \u003ca href=\"https://www.eventbrite.com/o/dope-era-events-70340499773\">Tickets to most events are on Eventbrite\u003c/a>. For more information and updates, follow \u003ca href=\"https://www.instagram.com/fabbydavisjr1\">Mistah F.A.B. on Instagram\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What started as a series of parties called F.A.B. Week to mark Mistah F.A.B.’s 40th birthday has evolved into a full-blown annual festival that the Oakland rap star, entrepreneur and community organizer puts on for his hometown — pretty much single-handedly.\u003c/p>\n\u003cp>“I’m not gonna lie and make it seem like I’m not overwhelmed at times,” says Mistah F.A.B., now almost 42, while laying down verses for an upcoming album at Studio X. As proof, his phone goes off every 30 seconds with calls about F.A.B. Week, fatherhood duties and musical collaborations. “But I know that in the beginning of your creations you have to do the pottery. And that’s where we are. … Hopefully the clay can withstand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>F.A.B. Week kicks off Monday, Jan. 22, with a ribbon-cutting ceremony for a new \u003ca href=\"https://www.instagram.com/p/C2RFKB7LevT/\">Mistah F.A.B. mural\u003c/a> by Airballin and Steven Anderson on 45th and Market Streets, where Mistah F.A.B. grew up, and a \u003ca href=\"https://www.eventbrite.com/e/know-your-lane-celebrity-bowling-too-hort-gary-payton-tickets-792692694187?aff=erelpanelorg\">“Know Your Lane” bowling party\u003c/a> at Plank in Jack London Square with celebrity guests Too Short and Gary Payton. Events continue daily through Jan. 28, with a \u003ca href=\"https://www.kron4.com/community/calendar/?_escaped_fragment_=/show/?start=2022-04-26#!/details/Fab-Week-2024-Dope-Era-Comedy-Show-HaHa-Davis-Hosted-by-Lewis-Belt/12965871/2024-01-23T20\">comedy night starring HaHa Davis\u003c/a> on Jan. 23 at Tommy T’s in Pleasanton and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-baytl-skate-night-dj-esco-in-the-mix-21-tickets-791928588727?aff=erelpanelorg\">Bay-TL Skate Party\u003c/a> with Future’s DJ and producer DJ Esco on Jan. 24 at the Henry J. Kaiser Auditorium in Oakland.\u003c/p>\n\u003cp>On Jan. 25, F.A.B. will bring a ’90s mobb music revival (and some hyphy) to the long-running \u003ca href=\"https://www.eventbrite.com/e/remember-the-nights-3xkrazy-the-delinquents-dru-down-black-c-the-team-tickets-795546118857?aff=erelpanelorg\">San Francisco hip-hop party City Nights\u003c/a>, with performances by 3XKrazy, The Delinquents, Dru Down, Black C of RBL Posse and The Team.\u003c/p>\n\u003cp>Festivities continue with a fashion show at Mistah F.A.B.’s downtown Oakland nightclub Dezi’s on Jan. 26, produced by celebrity stylist Mario B. “He’s a huge advocate and spokesman for the LGBTQ community,” F.A.B. says, noting the importance of unity. “To me that partnership was about, ‘Aye, we all here. We all together.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The week will wrap with a car show and \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-sneaker-prom-tickets-797092905337?aff=ebdsoporgprofile\">Sneaker Prom party\u003c/a> at Oakstop’s historic California Ballroom on Jan. 27, and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-big-facts-brunch-w-babyjade-bigbankatl-and-djscream-tickets-804064557737?aff=ebdsoporgprofile\">Big Facts Brunch\u003c/a> at ForTheCulture in Old Oakland and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-celebrity-basketball-game-tickets-797938334037?aff=ebdsoporgprofile\">celebrity basketball game\u003c/a> at Oakland Technical High School on Jan. 28.\u003c/p>\n\u003cp>With Oakland’s wealth inequality and resulting struggles with crime regularly in the news, F.A.B. says he wants to shine a light on the city as a creative powerhouse.\u003c/p>\n\u003cp>“All we hear about Oakland is that it’s this dangerous place, it’s Gotham City,” he says. “They don’t talk about the beauty of the city. They don’t talk about the brilliant minds that still lay here. They don’t talk about the art diaspora, the musical expression, the businesses that are still thriving even in the midst of all of these negative things.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mistah F.A.B. has a hand in pretty much all those categories. The Dope Era boutique owner and veteran artist who helped spearhead the hyphy movement of the 2000s has put in decades of work as a philanthropist and community organizer. Most recently, he’s ramped up his \u003ca href=\"https://oaklandside.org/2023/10/30/oakland-hip-hop-mental-health-black-men-group-therapy/\">Thug Therapy\u003c/a> men’s support and mentorship groups (“thug” standing for “teaching, helping, uniting and guiding”), along with an analogous Tea Time for women. He’s working on getting the programs into Oakland schools, with a long-term goal to create his own Dope Era Academy youth center and offer free access to arts, professional development and social support.\u003c/p>\n\u003cp>“I’m just trying to keep growing and putting the work in,” Mistah F.A.B. says. “Not really worrying about the scoreboard, but just continuing to put points up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>F.A.B. Week runs Monday–Sunday, Jan. 22–28. \u003ca href=\"https://www.eventbrite.com/o/dope-era-events-70340499773\">Tickets to most events are on Eventbrite\u003c/a>. For more information and updates, follow \u003ca href=\"https://www.instagram.com/fabbydavisjr1\">Mistah F.A.B. on Instagram\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Experimental Fashion Show Presents a Vision of Artists in Motion",
"headTitle": "An Experimental Fashion Show Presents a Vision of Artists in Motion | KQED",
"content": "\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13939157']Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938519']The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An event organized by Two Two and jane galerie featured emerging designers in a lineup of maximal looks.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "enter-nostalgia-bay-area-filipino-american-fashion",
"title": "This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels",
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"content": "\u003cp>[dropcap]“O[/dropcap]ur first drop had maybe ten orders,” 23-year-old Jaden Yo-Eco tells me in front of Oakland Filipino restaurant \u003ca href=\"https://www.instagram.com/luckythreeseven/?hl=en\">Lucky Three Seven\u003c/a>. “Now it’s thousands, but it’s still only two of us packing in our garage.”\u003c/p>\n\u003cp>Yo-Eco, along with his best friend Humbert Lee — who’s not here because he’s training for an MMA match — is the owner of the streetwear brand \u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>. Their clothing line, which modernizes classic Filipino cultural wear, has found viral online success and has been worn by a long list of rappers that includes YG, Blxst, Toosii, Rucci, Shordie Shordie, 1TakeJay and others.\u003c/p>\n\u003cp>Tonight, the owners of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\">Lucky Three Seven\u003c/a> have allowed Yo-Eco to shoot a lookbook in the restaurant. It’s been overrun by a fleet of photographers and videographers, and in the kitchen, a group of models — which include Stockton Filipino rapper \u003ca href=\"https://www.instagram.com/nellynelmb/?hl=en\">MBNel\u003c/a> — are laughing and eating chicken wings and lumpia as they wait for the shoot to begin.\u003c/p>\n\u003cfigure id=\"attachment_13939328\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg\" alt=\"A candid shot of models laughing inside the kitchen of a Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheana Soriano (left), RJ Suave and MBJoeMari take a moment between shots during a photoshoot for Oakland clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underneath the iridescent glow of the restaurant’s red-and-yellow electric sign, Yo-Eco leans against the hood of his car in baggy cargos, Timberland boots and a faded purplish Enter Nostalgia crewneck. The car, which Yo-Eco bought after one of the brand’s first successful drops, is a vintage 1999 Mercedes SL500.\u003c/p>\n\u003cp>“I’ve always been into things from before my time,” he says. “That’s why I chose [Lucky Three Seven]. The neon signs remind me of the city back in the ’40s when they had the bright signs everywhere.” [aside label='More Style Stories' postid='arts_13938519,arts_13938668,arts_13936528']\u003c/p>\n\u003cp>The past, Yo-Eco says, is one of his biggest design inspirations — hence, the name Nostalgia. Their latest collection draws upon the traditional Filipino garment barong tagalog, a type of sheer, long-sleeve button-up shirt typically worn at Filipino weddings and celebrations.\u003c/p>\n\u003cp>“Growing up, I had a barong I’d wear on special occasions like my sister’s coming of age party — in Filipino culture, it’s called a debut,” says Yo-Eco. “So I thought, what if we did a short-sleeved version?”\u003c/p>\n\u003cp>Yo-Eco and Lee originally released a cream colorway in March and shot the lookbook for it at \u003ca href=\"https://www.barongandformal.com/\">Barong & Formal\u003c/a>, a Filipino bridal shop in Oakland. The photoshoot garnered online attention, helping Barong & Formal gain their first couple thousand followers on social media and inspiring them to launch an online store, Yo-Eco says.\u003c/p>\n\u003cfigure id=\"attachment_13938357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg\" alt=\"A person crosses their arms in front of their body with one hand holding their wrist. A gold bracelet hands from their wrist and tattoos cover their hands. They are wearing a knit shirt and off white pants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RJ Suave poses in a knit cardigran by Enter Nostalgia during a photoshoot in a local Filipino restaurant in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had instances where something blew up, but those didn’t mean as much,” Yo-Eco says. “With these shirts, we started telling stories and giving exposure to [Filipino-owned] businesses, like the barong shop. So it’s different.”\u003c/p>\n\u003cp>After the initial success, Yo-Eco released new colorways the models are wearing tonight: olive, grey and blue. The shirts, he notes, are not a totally faithful rendition of the traditional barong. They sport a paisley pattern drawn from hip-hop culture, a culture whose innate anti-authority spirit offers Yo-Eco — who dropped out of college to pursue Enter Nostalgia — a different, but valuable, medium through which to articulate his experience as a Filipino American.\u003c/p>\n\u003cp>“I’m that delinquent son that got tatted, got into the art and clothing scene,” says Yo-Eco. “Many Filipinos \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">have talented creative arts backgrounds\u003c/a>, but our immigrant parents just want us to find stability, to be a traditional nurse or a doctor or something. It means a lot to be able to represent this different side.”\u003c/p>\n\u003cfigure id=\"attachment_13939327\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg\" alt=\"A videographer speaks to models between shots at a dimly lit Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Videographer Miguel Mallari chats with models Sheana Soriano and Nichole Thorne during a photoshoot for clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After eating some of the best tocino I’ve ever had, Yo-Eco and I say goodbye. We plan to meet again at Lee’s house where the two pack their orders in Lee’s parents’ garage.\u003c/p>\n\u003cp>As I drive away, I play MBNel’s most popular song, “\u003ca href=\"https://youtu.be/hMiFQGU6a9U?si=QZqBt0-4YpwuOGqP\">In My City\u003c/a>,” on my car’s aux. “I never went to college like my mama, papa wanted,” MBNel croons. [ad fullwidth]\u003c/p>\n\u003cp>[dropcap]A[/dropcap] week later, Yo-Eco, Lee and I are standing in the Lee family garage on a rainy Friday night. The small space is cluttered with countless brown cardboard boxes filled with the brand’s shirts.\u003c/p>\n\u003cp>Lee, who is wearing one of the brand’s crochet cardigans (“It’s some \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">Asian grandma shit\u003c/a>,” he says with a laugh), is in a phenomenal mood. He and Yo-Eco haven’t seen each other in some time due to his rigorous MMA training schedule, and the two friends are elated.\u003c/p>\n\u003cfigure id=\"attachment_13939371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg\" alt=\"Two people sit in a room with a rack filled with clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco pose for a portrait at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They originally met in high school. Yo-Eco recalls how shortly after he started the brand in 2017 — “At the time, just words screen-printed on a T-shirt,” both concur — Lee would make the hour-and-a-half drive from Daly City to San Jose and back to pick up the T-shirts that Yo-Eco would then sell to his high school classmates out of the trunk of his car.\u003c/p>\n\u003cp>“It was mutual brotherly love,” says Lee. “It didn’t have to be T-shirts — it could’ve been anything. He could’ve opened a donut business, I would’ve gone to get dough or oil for him.”\u003c/p>\n\u003cp>In 2019, once the two graduated high school, Yo-Eco asked Lee — who knew how to build websites — to come on board as a co-owner of the brand and launch an online store. The two differ in many ways: Yo-Eco is reserved; Lee is extroverted. Yo-Eco is creative; Lee is more business-minded. They say that’s precisely what makes their partnership so fruitful.\u003c/p>\n\u003cp>“I’ll do the emails, file with the state, the financial stuff. But he’ll do the creative work, like the photoshoot at Lucky Three Seven or the designing, and I can train full time,” says Lee. “That’s why it works so well.”\u003c/p>\n\u003cfigure id=\"attachment_13939336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco (right) show their matching butterfly tattoos during a portrait session at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One commonality the two do share, though: the small butterfly tattoo that they both have on their middle finger. The two decided to get the matching tattoos on one of their many trips to LA when they’d drive down every two weeks with the intent of trying to get their clothes into the hands of rappers.\u003c/p>\n\u003cp>“The whole thing about butterflies starting as cocoons,” says Yo-Eco, referencing the tattoo. “We always had dreams that other people thought we were crazy for having. But we never doubted. We always knew we just had to stick to the script.”\u003c/p>\n\u003cfigure id=\"attachment_13938355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg\" alt=\"A purple sweatshirt with white lettering fills the photo frame. A hand is held in front.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enter Nostalgia co-founder Jaden Yo-Eco shows his ‘Nostalgia’ tattoo in Daly City on Nov. 17, 2023. Yo-Eco and his friend Humbert Lee created local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This shared blind faith — or “delusion” in the words of Yo-Eco and Lee — is what they both ultimately attribute their success to.\u003c/p>\n\u003cp>“I feel like even if we didn’t do Enter Nostalgia, we would’ve at the end been at the same place with anything else because of our mindset,” says Lee.\u003c/p>\n\u003cp>“It’s the same with anything in life,” agrees Yo-Eco. “To get somewhere, you have to be delusional about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>’s next collection comes out in 2024, and will be announced on \u003ca href=\"https://www.instagram.com/enternostalgia/?hl=en\">Instagram\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "YG and Blxst have been spotted wearing Enter Nostalgia, a brand created by two best friends in their early 20s.",
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"title": "This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“O\u003c/span>\u003c/p>\u003cp>ur first drop had maybe ten orders,” 23-year-old Jaden Yo-Eco tells me in front of Oakland Filipino restaurant \u003ca href=\"https://www.instagram.com/luckythreeseven/?hl=en\">Lucky Three Seven\u003c/a>. “Now it’s thousands, but it’s still only two of us packing in our garage.”\u003c/p>\n\u003cp>Yo-Eco, along with his best friend Humbert Lee — who’s not here because he’s training for an MMA match — is the owner of the streetwear brand \u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>. Their clothing line, which modernizes classic Filipino cultural wear, has found viral online success and has been worn by a long list of rappers that includes YG, Blxst, Toosii, Rucci, Shordie Shordie, 1TakeJay and others.\u003c/p>\n\u003cp>Tonight, the owners of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\">Lucky Three Seven\u003c/a> have allowed Yo-Eco to shoot a lookbook in the restaurant. It’s been overrun by a fleet of photographers and videographers, and in the kitchen, a group of models — which include Stockton Filipino rapper \u003ca href=\"https://www.instagram.com/nellynelmb/?hl=en\">MBNel\u003c/a> — are laughing and eating chicken wings and lumpia as they wait for the shoot to begin.\u003c/p>\n\u003cfigure id=\"attachment_13939328\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg\" alt=\"A candid shot of models laughing inside the kitchen of a Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheana Soriano (left), RJ Suave and MBJoeMari take a moment between shots during a photoshoot for Oakland clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underneath the iridescent glow of the restaurant’s red-and-yellow electric sign, Yo-Eco leans against the hood of his car in baggy cargos, Timberland boots and a faded purplish Enter Nostalgia crewneck. The car, which Yo-Eco bought after one of the brand’s first successful drops, is a vintage 1999 Mercedes SL500.\u003c/p>\n\u003cp>“I’ve always been into things from before my time,” he says. “That’s why I chose [Lucky Three Seven]. The neon signs remind me of the city back in the ’40s when they had the bright signs everywhere.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The past, Yo-Eco says, is one of his biggest design inspirations — hence, the name Nostalgia. Their latest collection draws upon the traditional Filipino garment barong tagalog, a type of sheer, long-sleeve button-up shirt typically worn at Filipino weddings and celebrations.\u003c/p>\n\u003cp>“Growing up, I had a barong I’d wear on special occasions like my sister’s coming of age party — in Filipino culture, it’s called a debut,” says Yo-Eco. “So I thought, what if we did a short-sleeved version?”\u003c/p>\n\u003cp>Yo-Eco and Lee originally released a cream colorway in March and shot the lookbook for it at \u003ca href=\"https://www.barongandformal.com/\">Barong & Formal\u003c/a>, a Filipino bridal shop in Oakland. The photoshoot garnered online attention, helping Barong & Formal gain their first couple thousand followers on social media and inspiring them to launch an online store, Yo-Eco says.\u003c/p>\n\u003cfigure id=\"attachment_13938357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg\" alt=\"A person crosses their arms in front of their body with one hand holding their wrist. A gold bracelet hands from their wrist and tattoos cover their hands. They are wearing a knit shirt and off white pants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RJ Suave poses in a knit cardigran by Enter Nostalgia during a photoshoot in a local Filipino restaurant in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had instances where something blew up, but those didn’t mean as much,” Yo-Eco says. “With these shirts, we started telling stories and giving exposure to [Filipino-owned] businesses, like the barong shop. So it’s different.”\u003c/p>\n\u003cp>After the initial success, Yo-Eco released new colorways the models are wearing tonight: olive, grey and blue. The shirts, he notes, are not a totally faithful rendition of the traditional barong. They sport a paisley pattern drawn from hip-hop culture, a culture whose innate anti-authority spirit offers Yo-Eco — who dropped out of college to pursue Enter Nostalgia — a different, but valuable, medium through which to articulate his experience as a Filipino American.\u003c/p>\n\u003cp>“I’m that delinquent son that got tatted, got into the art and clothing scene,” says Yo-Eco. “Many Filipinos \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">have talented creative arts backgrounds\u003c/a>, but our immigrant parents just want us to find stability, to be a traditional nurse or a doctor or something. It means a lot to be able to represent this different side.”\u003c/p>\n\u003cfigure id=\"attachment_13939327\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg\" alt=\"A videographer speaks to models between shots at a dimly lit Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Videographer Miguel Mallari chats with models Sheana Soriano and Nichole Thorne during a photoshoot for clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After eating some of the best tocino I’ve ever had, Yo-Eco and I say goodbye. We plan to meet again at Lee’s house where the two pack their orders in Lee’s parents’ garage.\u003c/p>\n\u003cp>As I drive away, I play MBNel’s most popular song, “\u003ca href=\"https://youtu.be/hMiFQGU6a9U?si=QZqBt0-4YpwuOGqP\">In My City\u003c/a>,” on my car’s aux. “I never went to college like my mama, papa wanted,” MBNel croons. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> week later, Yo-Eco, Lee and I are standing in the Lee family garage on a rainy Friday night. The small space is cluttered with countless brown cardboard boxes filled with the brand’s shirts.\u003c/p>\n\u003cp>Lee, who is wearing one of the brand’s crochet cardigans (“It’s some \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">Asian grandma shit\u003c/a>,” he says with a laugh), is in a phenomenal mood. He and Yo-Eco haven’t seen each other in some time due to his rigorous MMA training schedule, and the two friends are elated.\u003c/p>\n\u003cfigure id=\"attachment_13939371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg\" alt=\"Two people sit in a room with a rack filled with clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco pose for a portrait at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They originally met in high school. Yo-Eco recalls how shortly after he started the brand in 2017 — “At the time, just words screen-printed on a T-shirt,” both concur — Lee would make the hour-and-a-half drive from Daly City to San Jose and back to pick up the T-shirts that Yo-Eco would then sell to his high school classmates out of the trunk of his car.\u003c/p>\n\u003cp>“It was mutual brotherly love,” says Lee. “It didn’t have to be T-shirts — it could’ve been anything. He could’ve opened a donut business, I would’ve gone to get dough or oil for him.”\u003c/p>\n\u003cp>In 2019, once the two graduated high school, Yo-Eco asked Lee — who knew how to build websites — to come on board as a co-owner of the brand and launch an online store. The two differ in many ways: Yo-Eco is reserved; Lee is extroverted. Yo-Eco is creative; Lee is more business-minded. They say that’s precisely what makes their partnership so fruitful.\u003c/p>\n\u003cp>“I’ll do the emails, file with the state, the financial stuff. But he’ll do the creative work, like the photoshoot at Lucky Three Seven or the designing, and I can train full time,” says Lee. “That’s why it works so well.”\u003c/p>\n\u003cfigure id=\"attachment_13939336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco (right) show their matching butterfly tattoos during a portrait session at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One commonality the two do share, though: the small butterfly tattoo that they both have on their middle finger. The two decided to get the matching tattoos on one of their many trips to LA when they’d drive down every two weeks with the intent of trying to get their clothes into the hands of rappers.\u003c/p>\n\u003cp>“The whole thing about butterflies starting as cocoons,” says Yo-Eco, referencing the tattoo. “We always had dreams that other people thought we were crazy for having. But we never doubted. We always knew we just had to stick to the script.”\u003c/p>\n\u003cfigure id=\"attachment_13938355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg\" alt=\"A purple sweatshirt with white lettering fills the photo frame. A hand is held in front.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enter Nostalgia co-founder Jaden Yo-Eco shows his ‘Nostalgia’ tattoo in Daly City on Nov. 17, 2023. Yo-Eco and his friend Humbert Lee created local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This shared blind faith — or “delusion” in the words of Yo-Eco and Lee — is what they both ultimately attribute their success to.\u003c/p>\n\u003cp>“I feel like even if we didn’t do Enter Nostalgia, we would’ve at the end been at the same place with anything else because of our mindset,” says Lee.\u003c/p>\n\u003cp>“It’s the same with anything in life,” agrees Yo-Eco. “To get somewhere, you have to be delusional about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>’s next collection comes out in 2024, and will be announced on \u003ca href=\"https://www.instagram.com/enternostalgia/?hl=en\">Instagram\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-trends-of-2023",
"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023",
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"headTitle": "The Bay Area’s Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Movies! Pants! Barbie! The Internet! Whatever everyone thinks is happening to San Francisco! The KQED Arts & Culture team weighs in on the year. ",
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"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-fashion-locals-impeccable-style",
"title": "5 Bay Area Locals With Impeccable Style",
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"headTitle": "5 Bay Area Locals With Impeccable Style | KQED",
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"content": "\u003cp>The Bay Area doesn’t have a formal fashion scene, but it’s not hard to find people who know the difference between throwing on clothes and putting together a thoughtful, self-expressive look — and we all know impeccable style when we see it.\u003c/p>\n\u003cp>While Aritzia and Patagonia still color many of our streets’ lackluster shades of predictable, these five Bay Area locals dress with a point of view. Here are their looks, how they describe their approaches to self-presentation and their thoughts on style in a region that’s so often dismissed as lacking any.\u003c/p>\n\u003cfigure id=\"attachment_13938558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg\" alt=\"Diptych of a full-body shot of woman in red top and layered pants/skirt and close-up of ornate nails\" width=\"1920\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-800x359.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1020x458.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-768x345.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1536x690.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell wears pants designed by Graham Payton (@sterrepeyton), a shirt and skirt by Maya Avery (@insigniamsa), nails by @nailsby_saby, Savage X Fenty gloves, and a Gucci bag. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jenay Hatchell, 23: ‘Bold, Versatile & Authentic’\u003c/h2>\n\u003cp>Art and politics are inextricable, says Jenay Hatchell, who wears black, red, green and white in homage to the Palestinian flag and the pan-African flag.\u003c/p>\n\u003cp>“Right now I’ve just been thinking heavily about how the struggles of Black and Brown kids in Oakland are tied to the struggles of people everywhere,” Hatchell says, “especially the struggles of Palestinian children and the struggles of children in the Congo and Sudan.”\u003c/p>\n\u003cp>A culture of making is a big part of Bay Area style for Hatchell, who also proudly wears jewelry and clothing made by friends and friends of friends. Clothes are a rich dimension for self-expression, including remembrance, says Hatchell, who wears an A’s hat adorned with the number 9 to commemorate her friend Justin Ross who passed earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13938530\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg\" alt=\"Black woman in black A's cap and red top stands among trees\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell in Joaquin Miller Park. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lifelong East Oaklander has noticed that some Bay Area residents conflate cool with money.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bay Area style at its worst is this flexing culture of just throwing together a whole bunch of expensive brands to look cool, but not putting any thought into what you’re actually wearing,” Hatchell says.\u003c/p>\n\u003cp>Bay Area style at its best, though, happens when people dress themselves with care and creativity, not necessarily with big price tags, she says.\u003c/p>\n\u003cp>“People wear things differently than you might expect, like mixing patterns, a lot of bright colors, jewelry — and not necessarily jewelry that’s super flashy,” she explains. “We make street fashion and comfortable fashion very unique to the point where it kind of looks like we’re dressed up.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>red tank by Maya Avery, knit skirt by Maya Avery, Savage X Fenty fingerless gloves, hand-painted jeans by Graham Peyton with graphic line work, A’s hat, silver chains outfitted by Hatchell with a red earring from dipsandcoils, wire bracelet with pearls, wire coil bracelet, watch gifted to Hatchell by her mom, silver hoops by Urban Outfitters.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg\" alt=\"Asian woman in sunglasses, embroidered hat and bat-shaped earrings smiles in profile\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong poses for a portrait in her backyard in San Francisco on Oct. 26, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terri Wong, 68: ‘Colorful, Eclectic & Asian’\u003c/h2>\n\u003cp>For vintage heads who like to reinvent older pieces, Terri Wong is a sort of virtuosa whose main complaint about Bay Area style is a lack of color — a deficiency she makes up for in her own ensembles. The former opera singer pairs vibrant vintage textiles that reflect her Chinese heritage with contemporary pleated garments and accessories.\u003c/p>\n\u003cp>“My sense of style is 80% vintage and maybe 20% contemporary,” Wong says. “I learned from my grandmother — she was a phenomenal seamstress.”\u003c/p>\n\u003cp>A bright side of regional style for Wong is an unapologetic sense of individuality among those folks who do lean into dressing up, which she embodies wholeheartedly.\u003c/p>\n\u003cfigure id=\"attachment_13938536\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg\" alt=\"Asian woman in fuchsia flowered hat holds parasol and smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong near her home in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s outfits are elaborate and whimsical — and they’re not meant to impress anyone, she says. Her vintage collection, though, is impressive in and of itself, which includes 200 ornate children’s hats.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>capelet knitted by Wong, Issey Miyake cobalt blue top, Ann Taylor pants, jade bangles, bat earrings, and an antique child’s hat with bat details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938540\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg\" alt=\"Diptych with full-body shot of young woman and close-up of French-tip nails.\" width=\"1920\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1020x460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1536x693.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland on Nov. 9, 2023. Right: Esteva shows her nails and jewelry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Namixtu’lú’ Esteva, 19: ‘Balanced, Unique & Playful’\u003c/h2>\n\u003cp>Namixtu’lú’ Esteva’s style is constantly evolving and shifting between conventional ideas of femininity and masculinity, she says. Esteva also credits her godmothers — in true godmotherly fashion — for helping her elevate and root her looks in her Native identity.\u003c/p>\n\u003cp>“[I’m] definitely influenced by my Indigenous culture,” Esteva says. “So a lot of the jewelry or things I accessorize with I grew up wearing from Oaxaca or from other parts of Mexico.”\u003c/p>\n\u003cp>Esteva leans towards baggier clothes on the spectrum of silhouettes and cites a pair of overalls as one of her most beloved items; they’re comfortable and go with everything. And her favorite part of Bay Area style is the influence of Black and Brown Bay Area culture.\u003c/p>\n\u003cfigure id=\"attachment_13938543\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg\" alt=\"Young woman with green feathers in hair and hoop earrings smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s like streetwear, but also cultural streetwear and things that embody hyphy like Mac Dre and Too Short,” she says.\u003c/p>\n\u003cp>Esteva especially loves the dialogue around wardrobes in the Bay and how willing people are to give each other advice on how to dress and where to get clothes.\u003c/p>\n\u003cp>The flipside of that is something Esteva doesn’t care for, which is gatekeeping: when people are secretive about where they find good deals and cool looks.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>ceremonial macaw feathers, black tank top, flared blue jeans, floral Native scarf worn as a belt, black Adidas sneakers with snake charms, gold bamboo hoops, gold bracelet, French tip acrylic nails, Tonantzin/Virgen de Guadalupe arm tattoo, nameplate necklace, Virgen de Guadalupe necklace.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg\" alt=\"Older Black man leans against post in patterned vest over button-down shirt and tie\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Holbert stands in the doorway of his home in Berkeley on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Raymond Holbert, 78: ‘Collage, Seasonal & Experience’\u003c/h2>\n\u003cp>Raymond Holbert is a “die-hard” for dyeing his own clothes. The Berkeley resident makes batches of coral, mint or robin-egg blue dyes to transform white garments he finds all over the Bay Area.\u003c/p>\n\u003cp>In his playful yet classic silhouettes, the fashion photographer says he finds harmony. And a big part of that is feeling good in what you wear no matter your age or sensibility.\u003c/p>\n\u003cp>“You can see them come together as you dress,” he says of his approach to combining elements. “It’s like an arts store or a buffet of sorts.”\u003c/p>\n\u003cfigure id=\"attachment_13938547\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg\" alt=\"\" width=\"1920\" height=\"879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-800x366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1020x467.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1536x703.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Raymond Holbert stands in his backyard in Berkeley on Nov. 3, 2023. Right: Holbert holds a tie he sewed buttons onto. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area weather never gets cold enough to wear his beloved outerwear, though, Holbert laments.\u003c/p>\n\u003cp>On style broadly, Holbert celebrates the expansiveness of how different people dress themselves in a way that transcends gender too.\u003c/p>\n\u003cp>“What I liked about style in the Bay Area is that you’re encouraged by that mixture — one of the greatest mixtures [of people] I’ve ever seen in my life,” he says. “It’s like an open market for everyone.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>moon-faced stud earrings, Marine dress shirt, chocolate-colored tie with buttons sewn on by Holbert, black Yves Saint Laurent vest in a multicolored frog print, lime green corduroy pants, avocado socks and two-tone dress shoes.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg\" alt=\"Person with short dark hair stands with one foot raised and arms out to show off skirts and jacket, smiling looking down\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai poses for a portrait in the Mission District in San Francisco on Nov. 7, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jason Mai, 28: ‘Slow, Intentional & Personal’\u003c/h2>\n\u003cp>Jason Mai thinks a lot about what ethical clothing really means. Their critique of style in the Bay lands on corporate babble about ethics and sustainability that don’t ultimately hold water for Mai. They call this pitfall “the culture of conscious capitalism.”\u003c/p>\n\u003cp>“I’m thinking about these SF fashion companies like Everlane, Rothy’s, Reformation, Stitch Fix — all those companies that co-opt radical language like transparency, ethics,” they say.\u003c/p>\n\u003cp>So Mai makes a point to be deliberate in how they dress, considering versatility and sustainability when they shop, but also how true brands actually are to their professed values.\u003c/p>\n\u003cp>Visually, Mai’s sense of style is “all over the map,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13938553\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg\" alt=\"Legs-down shot of layers of gray, black and gray skirts with white socks and black loafters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai with three layers of skirts in the Mission District in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can be preppy one day, all black and avant garde the other day, or in a hoodie and T-shirt the next,” they laugh.\u003c/p>\n\u003cp>Mai’s style depends on their mood at any given moment, but a highlight of their look is a glorious feast of textures — layers of pleats, folds and ruffles.\u003c/p>\n\u003cp>“I’m referencing my own history, my own memories and my own experience,” Mai says. “And I like to dabble in different aesthetics.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>silk blend blazer by Jil Sander, white button-down, black tie, brown and black plaid miniskirt, taffeta blend skirt with a bubble hem, checkered skirt with ruffles, white tube socks, black loafers, silver flower earrings, ring by Soft Good studio inscribed with Mai’s last name. \u003c/i>\u003c/p>\n\n",
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"excerpt": "We hear from an intergenerational mix of people on the best aspects of Bay Area style — and the worst.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area doesn’t have a formal fashion scene, but it’s not hard to find people who know the difference between throwing on clothes and putting together a thoughtful, self-expressive look — and we all know impeccable style when we see it.\u003c/p>\n\u003cp>While Aritzia and Patagonia still color many of our streets’ lackluster shades of predictable, these five Bay Area locals dress with a point of view. Here are their looks, how they describe their approaches to self-presentation and their thoughts on style in a region that’s so often dismissed as lacking any.\u003c/p>\n\u003cfigure id=\"attachment_13938558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg\" alt=\"Diptych of a full-body shot of woman in red top and layered pants/skirt and close-up of ornate nails\" width=\"1920\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-800x359.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1020x458.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-768x345.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1536x690.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell wears pants designed by Graham Payton (@sterrepeyton), a shirt and skirt by Maya Avery (@insigniamsa), nails by @nailsby_saby, Savage X Fenty gloves, and a Gucci bag. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jenay Hatchell, 23: ‘Bold, Versatile & Authentic’\u003c/h2>\n\u003cp>Art and politics are inextricable, says Jenay Hatchell, who wears black, red, green and white in homage to the Palestinian flag and the pan-African flag.\u003c/p>\n\u003cp>“Right now I’ve just been thinking heavily about how the struggles of Black and Brown kids in Oakland are tied to the struggles of people everywhere,” Hatchell says, “especially the struggles of Palestinian children and the struggles of children in the Congo and Sudan.”\u003c/p>\n\u003cp>A culture of making is a big part of Bay Area style for Hatchell, who also proudly wears jewelry and clothing made by friends and friends of friends. Clothes are a rich dimension for self-expression, including remembrance, says Hatchell, who wears an A’s hat adorned with the number 9 to commemorate her friend Justin Ross who passed earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13938530\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg\" alt=\"Black woman in black A's cap and red top stands among trees\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell in Joaquin Miller Park. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lifelong East Oaklander has noticed that some Bay Area residents conflate cool with money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bay Area style at its worst is this flexing culture of just throwing together a whole bunch of expensive brands to look cool, but not putting any thought into what you’re actually wearing,” Hatchell says.\u003c/p>\n\u003cp>Bay Area style at its best, though, happens when people dress themselves with care and creativity, not necessarily with big price tags, she says.\u003c/p>\n\u003cp>“People wear things differently than you might expect, like mixing patterns, a lot of bright colors, jewelry — and not necessarily jewelry that’s super flashy,” she explains. “We make street fashion and comfortable fashion very unique to the point where it kind of looks like we’re dressed up.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>red tank by Maya Avery, knit skirt by Maya Avery, Savage X Fenty fingerless gloves, hand-painted jeans by Graham Peyton with graphic line work, A’s hat, silver chains outfitted by Hatchell with a red earring from dipsandcoils, wire bracelet with pearls, wire coil bracelet, watch gifted to Hatchell by her mom, silver hoops by Urban Outfitters.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg\" alt=\"Asian woman in sunglasses, embroidered hat and bat-shaped earrings smiles in profile\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong poses for a portrait in her backyard in San Francisco on Oct. 26, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terri Wong, 68: ‘Colorful, Eclectic & Asian’\u003c/h2>\n\u003cp>For vintage heads who like to reinvent older pieces, Terri Wong is a sort of virtuosa whose main complaint about Bay Area style is a lack of color — a deficiency she makes up for in her own ensembles. The former opera singer pairs vibrant vintage textiles that reflect her Chinese heritage with contemporary pleated garments and accessories.\u003c/p>\n\u003cp>“My sense of style is 80% vintage and maybe 20% contemporary,” Wong says. “I learned from my grandmother — she was a phenomenal seamstress.”\u003c/p>\n\u003cp>A bright side of regional style for Wong is an unapologetic sense of individuality among those folks who do lean into dressing up, which she embodies wholeheartedly.\u003c/p>\n\u003cfigure id=\"attachment_13938536\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg\" alt=\"Asian woman in fuchsia flowered hat holds parasol and smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong near her home in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s outfits are elaborate and whimsical — and they’re not meant to impress anyone, she says. Her vintage collection, though, is impressive in and of itself, which includes 200 ornate children’s hats.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>capelet knitted by Wong, Issey Miyake cobalt blue top, Ann Taylor pants, jade bangles, bat earrings, and an antique child’s hat with bat details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938540\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg\" alt=\"Diptych with full-body shot of young woman and close-up of French-tip nails.\" width=\"1920\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1020x460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1536x693.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland on Nov. 9, 2023. Right: Esteva shows her nails and jewelry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Namixtu’lú’ Esteva, 19: ‘Balanced, Unique & Playful’\u003c/h2>\n\u003cp>Namixtu’lú’ Esteva’s style is constantly evolving and shifting between conventional ideas of femininity and masculinity, she says. Esteva also credits her godmothers — in true godmotherly fashion — for helping her elevate and root her looks in her Native identity.\u003c/p>\n\u003cp>“[I’m] definitely influenced by my Indigenous culture,” Esteva says. “So a lot of the jewelry or things I accessorize with I grew up wearing from Oaxaca or from other parts of Mexico.”\u003c/p>\n\u003cp>Esteva leans towards baggier clothes on the spectrum of silhouettes and cites a pair of overalls as one of her most beloved items; they’re comfortable and go with everything. And her favorite part of Bay Area style is the influence of Black and Brown Bay Area culture.\u003c/p>\n\u003cfigure id=\"attachment_13938543\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg\" alt=\"Young woman with green feathers in hair and hoop earrings smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s like streetwear, but also cultural streetwear and things that embody hyphy like Mac Dre and Too Short,” she says.\u003c/p>\n\u003cp>Esteva especially loves the dialogue around wardrobes in the Bay and how willing people are to give each other advice on how to dress and where to get clothes.\u003c/p>\n\u003cp>The flipside of that is something Esteva doesn’t care for, which is gatekeeping: when people are secretive about where they find good deals and cool looks.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>ceremonial macaw feathers, black tank top, flared blue jeans, floral Native scarf worn as a belt, black Adidas sneakers with snake charms, gold bamboo hoops, gold bracelet, French tip acrylic nails, Tonantzin/Virgen de Guadalupe arm tattoo, nameplate necklace, Virgen de Guadalupe necklace.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg\" alt=\"Older Black man leans against post in patterned vest over button-down shirt and tie\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Holbert stands in the doorway of his home in Berkeley on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Raymond Holbert, 78: ‘Collage, Seasonal & Experience’\u003c/h2>\n\u003cp>Raymond Holbert is a “die-hard” for dyeing his own clothes. The Berkeley resident makes batches of coral, mint or robin-egg blue dyes to transform white garments he finds all over the Bay Area.\u003c/p>\n\u003cp>In his playful yet classic silhouettes, the fashion photographer says he finds harmony. And a big part of that is feeling good in what you wear no matter your age or sensibility.\u003c/p>\n\u003cp>“You can see them come together as you dress,” he says of his approach to combining elements. “It’s like an arts store or a buffet of sorts.”\u003c/p>\n\u003cfigure id=\"attachment_13938547\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg\" alt=\"\" width=\"1920\" height=\"879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-800x366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1020x467.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1536x703.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Raymond Holbert stands in his backyard in Berkeley on Nov. 3, 2023. Right: Holbert holds a tie he sewed buttons onto. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area weather never gets cold enough to wear his beloved outerwear, though, Holbert laments.\u003c/p>\n\u003cp>On style broadly, Holbert celebrates the expansiveness of how different people dress themselves in a way that transcends gender too.\u003c/p>\n\u003cp>“What I liked about style in the Bay Area is that you’re encouraged by that mixture — one of the greatest mixtures [of people] I’ve ever seen in my life,” he says. “It’s like an open market for everyone.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>moon-faced stud earrings, Marine dress shirt, chocolate-colored tie with buttons sewn on by Holbert, black Yves Saint Laurent vest in a multicolored frog print, lime green corduroy pants, avocado socks and two-tone dress shoes.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg\" alt=\"Person with short dark hair stands with one foot raised and arms out to show off skirts and jacket, smiling looking down\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai poses for a portrait in the Mission District in San Francisco on Nov. 7, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jason Mai, 28: ‘Slow, Intentional & Personal’\u003c/h2>\n\u003cp>Jason Mai thinks a lot about what ethical clothing really means. Their critique of style in the Bay lands on corporate babble about ethics and sustainability that don’t ultimately hold water for Mai. They call this pitfall “the culture of conscious capitalism.”\u003c/p>\n\u003cp>“I’m thinking about these SF fashion companies like Everlane, Rothy’s, Reformation, Stitch Fix — all those companies that co-opt radical language like transparency, ethics,” they say.\u003c/p>\n\u003cp>So Mai makes a point to be deliberate in how they dress, considering versatility and sustainability when they shop, but also how true brands actually are to their professed values.\u003c/p>\n\u003cp>Visually, Mai’s sense of style is “all over the map,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13938553\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg\" alt=\"Legs-down shot of layers of gray, black and gray skirts with white socks and black loafters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai with three layers of skirts in the Mission District in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can be preppy one day, all black and avant garde the other day, or in a hoodie and T-shirt the next,” they laugh.\u003c/p>\n\u003cp>Mai’s style depends on their mood at any given moment, but a highlight of their look is a glorious feast of textures — layers of pleats, folds and ruffles.\u003c/p>\n\u003cp>“I’m referencing my own history, my own memories and my own experience,” Mai says. “And I like to dabble in different aesthetics.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>silk blend blazer by Jil Sander, white button-down, black tie, brown and black plaid miniskirt, taffeta blend skirt with a bubble hem, checkered skirt with ruffles, white tube socks, black loafers, silver flower earrings, ring by Soft Good studio inscribed with Mai’s last name. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dolly Parton’s New Book Takes Us ‘Behind the Seams’ of Her Life in Rhinestones",
"headTitle": "Dolly Parton’s New Book Takes Us ‘Behind the Seams’ of Her Life in Rhinestones | KQED",
"content": "\u003cp>Dolly Parton’s iconic look — big hair, big heels and tight low-cut dresses covered in rhinestones or beads — is a big part of her lasting appeal, nearly as important as her vast catalogue of country ballads and bangers that made her a star.\u003c/p>\n\u003cp>[aside postid='arts_13889581']In \u003cem>Behind the Seams: My Life in Rhinestones\u003c/em>, Parton takes fans on a detailed tour through her closet, filled with 450 vivid photos of decades of sparkly dresses, jumpsuits, jeans and even wigs, which she started wearing early in her career.\u003c/p>\n\u003cp>She chronicles how she always knew she wanted a maximalist, flashy look, and stayed true to her personal style despite seemingly endless objections by her father, managers and others who always wanted her to “tone it down.”\u003c/p>\n\u003cfigure id=\"attachment_13936616\" class=\"wp-caption aligncenter\" style=\"max-width: 974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png\" alt=\"A pink book cover with a flamboyant blonde woman wearing a white sparkly gown.\" width=\"974\" height=\"1344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png 974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-800x1104.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-768x1060.png 768w\" sizes=\"(max-width: 974px) 100vw, 974px\">\u003cfigcaption class=\"wp-caption-text\">‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren. \u003ccite>(Ten Speed Press via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From early on I loved the big hair and makeup, the long nails, the high heels, the flashy clothes,” she writes. “But believe it or not, I had to fight for that look.”\u003c/p>\n\u003cp>[aside postid='arts_13922004']Starting with replicas of Dolly’s “Coat of Many Colors,” based on her famous song about a coat her mother made her, Dolly gives a tour of how her style evolved through the decades, from the country costumes she wore as the “girl singer” on \u003cem>The Porter Wagoner Show\u003c/em> in the late 1960s and early 1970s, to the jumpsuits she wore during her rising solo career and the flashy rhinestone-studded gowns and outfits she wore making it big in Hollywood movies like \u003cem>9 to 5\u003c/em> and \u003cem>Rhinestone\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book is a joint effort with her niece, Rebecca Seaver, and music journalist Holly George-Warren. It includes profiles and remembrances from her favorite designers, makeup artists and stylists and others that help put together Parton’s famous look. And fans can get a glimpse of some of Parton’s outfits at an accompanying exhibit at Lipscomb University in Nashville Oct. 31-Dec. 9.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Behind the Seams: My Life in Rhinestones\u003c/em>, Parton takes fans on a detailed tour through her closet, filled with 450 vivid photos of decades of sparkly dresses, jumpsuits, jeans and even wigs, which she started wearing early in her career.\u003c/p>\n\u003cp>She chronicles how she always knew she wanted a maximalist, flashy look, and stayed true to her personal style despite seemingly endless objections by her father, managers and others who always wanted her to “tone it down.”\u003c/p>\n\u003cfigure id=\"attachment_13936616\" class=\"wp-caption aligncenter\" style=\"max-width: 974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png\" alt=\"A pink book cover with a flamboyant blonde woman wearing a white sparkly gown.\" width=\"974\" height=\"1344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png 974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-800x1104.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-768x1060.png 768w\" sizes=\"(max-width: 974px) 100vw, 974px\">\u003cfigcaption class=\"wp-caption-text\">‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren. \u003ccite>(Ten Speed Press via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From early on I loved the big hair and makeup, the long nails, the high heels, the flashy clothes,” she writes. “But believe it or not, I had to fight for that look.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book is a joint effort with her niece, Rebecca Seaver, and music journalist Holly George-Warren. It includes profiles and remembrances from her favorite designers, makeup artists and stylists and others that help put together Parton’s famous look. And fans can get a glimpse of some of Parton’s outfits at an accompanying exhibit at Lipscomb University in Nashville Oct. 31-Dec. 9.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“The things I work on, I’m passionate about,” \u003ca href=\"https://www.akintundeahmad.com/\">Akintunde Ahmad\u003c/a> tells me over the phone. “So it’s never a burden or a chore.”\u003c/p>\n\u003cp>Ahmad, who has a bachelor’s degree in sociology from Yale and a master’s in journalism from Columbia, is a writer, journalist, documentarian and co-founder of the Oakland cafe and community space \u003ca href=\"https://www.instagram.com/kinfolxoak/?hl=en\">Kinfolx\u003c/a>. He’s also the founder of the ethically and sustainably made-in-Ghana clothing brand \u003ca href=\"https://adedehye.com/\">Ade Dehye\u003c/a>, which has been worn by \u003ca href=\"https://www.sfchronicle.com/sports/warriors/article/That-Steph-Curry-tunnel-walk-shirt-It-was-17244577.php\">Steph Curry\u003c/a>, Andre Iguodala and Common. Some might consider the word “multi-hyphenate” cliche, but if anyone deserves the title, it’s this 27-year-old creative from East Oakland.\u003c/p>\n\u003cp>When I catch up with Ahmad, he’s in Los Angeles and recently wrapped up work on \u003cem>Anthem\u003c/em>, a Hulu documentary he helped produce about American music. He tells me the temporary move has been a great opportunity to explore new markets for Ade Dehye, but that he’ll return to Oakland for Ade Dehye’s \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Oct. 20 runway show\u003c/a> at Oakland Style Lab for \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a>, which gets underway October 18-22.\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cf7sLD6pr0U/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==\u003c/p>\n\u003cp>The idea for Ade Dehye first came to Ahmad when he spent a semester abroad in Ghana during college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d never been interested in fashion before, but in Ghana I started going to fabric markets and seeing tons of new textiles. There’s so many tailors there — so any clothing I could think of I could get made,” says Ahmad. “So I just started making garments.”\u003c/p>\n\u003cp>Ahmad began experimenting with all types of West African textiles, such as fugu (hand-woven in the upper Western region of Ghana) and bogolan mudcloth (hand-spun and -dyed in Mali) to create brightly patterned coats and overshirts shimmering with color.\u003c/p>\n\u003cp>“I’d mix the indigenous textile with urban, streetwear silhouettes in order to create items that I, or the folks in my community, would want to wear,” says Ahmad.\u003c/p>\n\u003cfigure id=\"attachment_13935411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg\" alt=\"A close-up shot of Akintunde Ahmad as he opens his overshirt to show the design on his T-shirt.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Akintunde Ahmad wears an Ade Dehye overshirt and t-shirt featuring Ghanian President Kwame Nkrumah at Kinfolx in Oakland, Calif. on Sunday, Sept. 24, 2023. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ahmad wore his new clothes, friends repeatedly complimented him. He realized he’d created something special. But it wouldn’t be until 2019, once he’d graduated and saved up money, that he could start his brand.\u003c/p>\n\u003cp>“At the time, I spoke with my friend Awurama out there who runs the brand \u003ca href=\"https://threadedtribes.com/\">Threaded Tribes\u003c/a>,” says Ahmad. “She linked me with the production team she uses and that’s how things started.”\u003c/p>\n\u003cp>The Accra-based production team Ahmad opted for is small-scale. Every step is human-powered: Fabrics and textiles are hand-woven, and the cut-and-sew process is done by hand. Any dyes used are natural, and any screenprints done by hand.\u003c/p>\n\u003cp>“I wanted to build a social enterprise,” says Ahmad. “If it was just about money, it would’ve been easier to go to China. But I wanted to have an impact, to build sustainably in Ghana.”\u003c/p>\n\u003cp>One reason Ahmad prioritized sustainability is the clothing waste crisis in Ghana. Every week, \u003ca href=\"https://www.theguardian.com/global-development/2023/jun/05/yvette-yaa-konadu-tetteh-how-ghana-became-fast-fashions-dumping-ground\">15 million items\u003c/a> of secondhand clothing are shipped to Ghana from the United States, Australia and the United Kingdom. \u003ca href=\"https://www.reuters.com/lifestyle/ghanas-vintage-enthusiasts-give-new-life-western-clothing-waste-2022-12-28/\">Roughly 40%\u003c/a> of what is shipped to Ghana, however, is unusable and ends up in landfills — a percentage that’s constantly rising with the \u003ca href=\"https://goodonyou.eco/what-is-fast-fashion/\">growth of fast fashion\u003c/a>.\u003c/p>\n\u003cp>“The quality of what’s sent over is continually decreasing, both in actual construction quality and in the overall condition of the clothes,” says Ahmad. “So they end up in massive landfills like Korle Lagoon.”\u003c/p>\n\u003cp>Beyond sustainability, that his garments are ethically made is also critical to Ahmad. He says production workers are paid livable wages, and he frequently visits to verify that working conditions are safe.\u003c/p>\n\u003cp>“Africa has been exploited since the Berlin Conference of 1854,” says Ahmad. “I’m not in the business of exploiting folks. Especially not when we can all win together.”\u003c/p>\n\u003cp>https://www.instagram.com/p/Ctaa0mIxksp/?img_index=1\u003c/p>\n\u003cp>Exploitation on the continent is not the only trend Ahmad’s brand hopes to help disrupt — he also hopes it will help challenge the acute Eurocentrism of high fashion.\u003c/p>\n\u003cp>“Of any demographic, Black people spend the highest percentage of their income on luxury goods,” says Ahmad. “But high fashion is dominated by European fashion houses that haven’t traditionally cared about Black people. I want to highlight through [Ade Dehye] that there are Black-owned alternatives.”\u003c/p>\n\u003cp>For Ahmad, creating a strong Black-owned alternative is deeper than merely allowing for more racial representation in the industry.\u003c/p>\n\u003cp>“By spending on Black-owned brands, you’re spending with someone who’s more likely to spend or reinvest with others in the Black community. That economic flow in turn creates better opportunities and resources. That’s the bigger picture I hope folks understand. It’s not just about race — it’s about communities, economic power, and allowing for more.”\u003c/p>\n\u003cp>This hope to empower and strengthen his community is also what drives Ahmad’s work with the cafe and event space Kinfolx.\u003c/p>\n\u003cp>The idea for Kinfolx spawned when Ahmad and his close friend Creighton Davis struggled to find Black-owned businesses where they could meet to discuss community issues. It’s no surprise, Ahmad says: Since 1990, through gentrification and displacement, Oakland’s Black population has almost halved. [aside postid='arts_13933436']\u003c/p>\n\u003cp>“It’s weird being downtown in a city you’ve grown up and done so much in — only to now get judged on appearance when you go in somewhere,” says Ahmad. “So we wanted to create a space where it’s apparent that Black and brown people are valued.”\u003c/p>\n\u003cp>Kinfolx frequently hosts community events, like live music or game nights. The space is also entirely furnished by Black-owned businesses. The walls showcase art by Black artists, the bar serves wines from Black-owned wineries and even the toilets in the bathroom are from a Black-owned company.\u003c/p>\n\u003cfigure id=\"attachment_13936566\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg\" alt=\"An engaged crowd of 20-30 people, mostly young Black creative types, gathers around the speakers inside a well-lit wine bar.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In Augusty 2023, UDay Studios held an event at Kinfolx featuring filmmakers Boots Riley and Cheryl Dunye. \u003ccite>(Wallah Umoja )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people say ‘I won’t work with Black folks because they don’t do things right,’” says Ahmad. “But our success shows there’s no excuse. If we’re doing it, why can’t you?”\u003c/p>\n\u003cp>Ahmad and I are nearing the end of our conversation, so I can’t help but ask: For someone whose accomplished so much across so many fields, what does he want to do next?\u003c/p>\n\u003cp>“I want to create resources and videos that’ll encourage people to build with folks that have been overlooked and exploited,” he says. “I also want Ade Dehye to become a household name, and I want to show folks we got there by doing it the right way.”\u003c/p>\n\u003cp>He pauses reflectively. “Oh yeah, and of course — I want to enjoy. Just enjoy the ride.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Ade Dehye is featured in the \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Style Wars: Streetwear Runway Show\u003c/a> on Oct. 20 at Oakland Style Lab as part of \u003ca href=\"https://www.instagram.com/oaklandstyleweek/\">Oakland Style Week\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction, Oct. 18, 2023: \u003c/strong>\u003c/em>\u003cem>A previous version of this article stated that Akintunde Ahmad is of Ghanaian heritage. He is not. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The things I work on, I’m passionate about,” \u003ca href=\"https://www.akintundeahmad.com/\">Akintunde Ahmad\u003c/a> tells me over the phone. “So it’s never a burden or a chore.”\u003c/p>\n\u003cp>Ahmad, who has a bachelor’s degree in sociology from Yale and a master’s in journalism from Columbia, is a writer, journalist, documentarian and co-founder of the Oakland cafe and community space \u003ca href=\"https://www.instagram.com/kinfolxoak/?hl=en\">Kinfolx\u003c/a>. He’s also the founder of the ethically and sustainably made-in-Ghana clothing brand \u003ca href=\"https://adedehye.com/\">Ade Dehye\u003c/a>, which has been worn by \u003ca href=\"https://www.sfchronicle.com/sports/warriors/article/That-Steph-Curry-tunnel-walk-shirt-It-was-17244577.php\">Steph Curry\u003c/a>, Andre Iguodala and Common. Some might consider the word “multi-hyphenate” cliche, but if anyone deserves the title, it’s this 27-year-old creative from East Oakland.\u003c/p>\n\u003cp>When I catch up with Ahmad, he’s in Los Angeles and recently wrapped up work on \u003cem>Anthem\u003c/em>, a Hulu documentary he helped produce about American music. He tells me the temporary move has been a great opportunity to explore new markets for Ade Dehye, but that he’ll return to Oakland for Ade Dehye’s \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Oct. 20 runway show\u003c/a> at Oakland Style Lab for \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a>, which gets underway October 18-22.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d never been interested in fashion before, but in Ghana I started going to fabric markets and seeing tons of new textiles. There’s so many tailors there — so any clothing I could think of I could get made,” says Ahmad. “So I just started making garments.”\u003c/p>\n\u003cp>Ahmad began experimenting with all types of West African textiles, such as fugu (hand-woven in the upper Western region of Ghana) and bogolan mudcloth (hand-spun and -dyed in Mali) to create brightly patterned coats and overshirts shimmering with color.\u003c/p>\n\u003cp>“I’d mix the indigenous textile with urban, streetwear silhouettes in order to create items that I, or the folks in my community, would want to wear,” says Ahmad.\u003c/p>\n\u003cfigure id=\"attachment_13935411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg\" alt=\"A close-up shot of Akintunde Ahmad as he opens his overshirt to show the design on his T-shirt.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Akintunde Ahmad wears an Ade Dehye overshirt and t-shirt featuring Ghanian President Kwame Nkrumah at Kinfolx in Oakland, Calif. on Sunday, Sept. 24, 2023. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ahmad wore his new clothes, friends repeatedly complimented him. He realized he’d created something special. But it wouldn’t be until 2019, once he’d graduated and saved up money, that he could start his brand.\u003c/p>\n\u003cp>“At the time, I spoke with my friend Awurama out there who runs the brand \u003ca href=\"https://threadedtribes.com/\">Threaded Tribes\u003c/a>,” says Ahmad. “She linked me with the production team she uses and that’s how things started.”\u003c/p>\n\u003cp>The Accra-based production team Ahmad opted for is small-scale. Every step is human-powered: Fabrics and textiles are hand-woven, and the cut-and-sew process is done by hand. Any dyes used are natural, and any screenprints done by hand.\u003c/p>\n\u003cp>“I wanted to build a social enterprise,” says Ahmad. “If it was just about money, it would’ve been easier to go to China. But I wanted to have an impact, to build sustainably in Ghana.”\u003c/p>\n\u003cp>One reason Ahmad prioritized sustainability is the clothing waste crisis in Ghana. Every week, \u003ca href=\"https://www.theguardian.com/global-development/2023/jun/05/yvette-yaa-konadu-tetteh-how-ghana-became-fast-fashions-dumping-ground\">15 million items\u003c/a> of secondhand clothing are shipped to Ghana from the United States, Australia and the United Kingdom. \u003ca href=\"https://www.reuters.com/lifestyle/ghanas-vintage-enthusiasts-give-new-life-western-clothing-waste-2022-12-28/\">Roughly 40%\u003c/a> of what is shipped to Ghana, however, is unusable and ends up in landfills — a percentage that’s constantly rising with the \u003ca href=\"https://goodonyou.eco/what-is-fast-fashion/\">growth of fast fashion\u003c/a>.\u003c/p>\n\u003cp>“The quality of what’s sent over is continually decreasing, both in actual construction quality and in the overall condition of the clothes,” says Ahmad. “So they end up in massive landfills like Korle Lagoon.”\u003c/p>\n\u003cp>Beyond sustainability, that his garments are ethically made is also critical to Ahmad. He says production workers are paid livable wages, and he frequently visits to verify that working conditions are safe.\u003c/p>\n\u003cp>“Africa has been exploited since the Berlin Conference of 1854,” says Ahmad. “I’m not in the business of exploiting folks. Especially not when we can all win together.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exploitation on the continent is not the only trend Ahmad’s brand hopes to help disrupt — he also hopes it will help challenge the acute Eurocentrism of high fashion.\u003c/p>\n\u003cp>“Of any demographic, Black people spend the highest percentage of their income on luxury goods,” says Ahmad. “But high fashion is dominated by European fashion houses that haven’t traditionally cared about Black people. I want to highlight through [Ade Dehye] that there are Black-owned alternatives.”\u003c/p>\n\u003cp>For Ahmad, creating a strong Black-owned alternative is deeper than merely allowing for more racial representation in the industry.\u003c/p>\n\u003cp>“By spending on Black-owned brands, you’re spending with someone who’s more likely to spend or reinvest with others in the Black community. That economic flow in turn creates better opportunities and resources. That’s the bigger picture I hope folks understand. It’s not just about race — it’s about communities, economic power, and allowing for more.”\u003c/p>\n\u003cp>This hope to empower and strengthen his community is also what drives Ahmad’s work with the cafe and event space Kinfolx.\u003c/p>\n\u003cp>The idea for Kinfolx spawned when Ahmad and his close friend Creighton Davis struggled to find Black-owned businesses where they could meet to discuss community issues. It’s no surprise, Ahmad says: Since 1990, through gentrification and displacement, Oakland’s Black population has almost halved. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s weird being downtown in a city you’ve grown up and done so much in — only to now get judged on appearance when you go in somewhere,” says Ahmad. “So we wanted to create a space where it’s apparent that Black and brown people are valued.”\u003c/p>\n\u003cp>Kinfolx frequently hosts community events, like live music or game nights. The space is also entirely furnished by Black-owned businesses. The walls showcase art by Black artists, the bar serves wines from Black-owned wineries and even the toilets in the bathroom are from a Black-owned company.\u003c/p>\n\u003cfigure id=\"attachment_13936566\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg\" alt=\"An engaged crowd of 20-30 people, mostly young Black creative types, gathers around the speakers inside a well-lit wine bar.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In Augusty 2023, UDay Studios held an event at Kinfolx featuring filmmakers Boots Riley and Cheryl Dunye. \u003ccite>(Wallah Umoja )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people say ‘I won’t work with Black folks because they don’t do things right,’” says Ahmad. “But our success shows there’s no excuse. If we’re doing it, why can’t you?”\u003c/p>\n\u003cp>Ahmad and I are nearing the end of our conversation, so I can’t help but ask: For someone whose accomplished so much across so many fields, what does he want to do next?\u003c/p>\n\u003cp>“I want to create resources and videos that’ll encourage people to build with folks that have been overlooked and exploited,” he says. “I also want Ade Dehye to become a household name, and I want to show folks we got there by doing it the right way.”\u003c/p>\n\u003cp>He pauses reflectively. “Oh yeah, and of course — I want to enjoy. Just enjoy the ride.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Ade Dehye is featured in the \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Style Wars: Streetwear Runway Show\u003c/a> on Oct. 20 at Oakland Style Lab as part of \u003ca href=\"https://www.instagram.com/oaklandstyleweek/\">Oakland Style Week\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction, Oct. 18, 2023: \u003c/strong>\u003c/em>\u003cem>A previous version of this article stated that Akintunde Ahmad is of Ghanaian heritage. He is not. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour",
"headTitle": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour | KQED",
"content": "\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>[aside postID='arts_13936015']With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A sea of black outfits, sombreros and Mexican pride greeted Peso Pluma's Doble P tour at San Jose's SAP Center.",
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"headline": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion",
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"headTitle": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion | KQED",
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"content": "\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>[aside postID='arts_13934154']Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"title": "Beyoncé’s Fans at Levi’s Stadium Wear Their Best Silver Fashion | KQED",
"description": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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}
