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"slug": "photos-la-onda-festival-recap-napa",
"title": "PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa",
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"content": "\u003cp>For decades, Los Ángeles Azules have opened their live performances with the refrain “de Iztapalapa para el mundo” (“from Iztapalapa to the world”), a message that reflects how their flavor of cumbia from Iztapalapa, Mexico City has become a global institution.\u003c/p>\n\u003cp>But at their Sunday performance at the first-ever Festival La Onda at the Napa Valley Expo, the group shared with the audience of thousands a slightly different message: “de Iztapalapa para Napa” — “from Iztapalapa to Napa.”\u003c/p>\n\u003cp>Indeed, Iztapalapa had reached Napa. And so had the Latin American diaspora. On June 1-2, La Onda filled Napa Valley with a star-studded lineup of Spanish-speaking artists. The creators of the event — the same team that produced \u003ca href=\"https://www.kqed.org/arts/13958567/bottlerock-2024-photo-highlights-recap\">BottleRock\u003c/a> just a week before — wanted to create a major music festival dedicated to the Latino community of the Bay Area.\u003c/p>\n\u003cp>And they succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13959000\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Farruko performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reggaetón star Farruko had the crowd jumping on Saturday with hits like “Pepas” and “La Tóxica.” Chilean indie artist Mon Laferte had fans in tears when she performed “Tu Falta de Querer” and “Si tú me quisieras.” Danna Paola — who began her career at just four years old on Mexican television and reached global fame after joining Netflix’s \u003cem>Élite\u003c/em> in 2018 — proclaimed the start of Pride month with “TQ Y YA,” a queer love anthem that proclaims in its chorus “amor es amor y que nadie se meta” (“love is love and nobody else needs to get involved”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival was truly blessed with its lineup of superstars from both rock en español and regional mexicano. Never has the Bay Area seen these two worlds come together so seamlessly. Rockero icons like Café Tacvba, Maná and Maldita Vecindad blasted timeless hits only a few couple hundred feet from where regional artists like Eslabón Armado, Junior H, Yahritza y su Esencia and La Arrolladora performed.\u003c/p>\n\u003cfigure id=\"attachment_13959059\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans at the festival were just as diverse as the genres represented on stage. Thousands of Latinos from all over the West Coast filled the Napa Valley Expo grounds. Perhaps only at \u003ca href=\"https://www.kqed.org/news/11987764/carnaval-san-francisco-celebrates-46-years-with-spectacular-mission-street-parade\">Carnaval San Francisco\u003c/a> do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.\u003c/p>\n\u003cp>While the majority of the crowd could be spotted with vaqueras and waving Mexican flags, there definitely were fans rocking Colombian vueltiao sombreros, Salvadoran jerseys and bandanas with Nicaraguan flags.\u003c/p>\n\u003cfigure id=\"attachment_13959058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Fuerza Regida perform at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt now that a festival featuring only Latino artists — playing music essentially only in Spanish — can succeed in the Bay Area.\u003c/p>\n\u003cp>And most importantly, the Latino community of the North Bay was very well represented. Over a third of Napa County’s population identifies as Latino and the region’s world famous wine industry, which brings billions of dollars in investment and tourism, depends on the labor of tens of thousands of Latino and Indigenous workers.\u003c/p>\n\u003cp>Natalie Arana, who lives in Napa County and came with her husband, says she immediately signed up for the ticket presale when she heard a Latino music festival was coming. “It made me very happy that they’re finally doing something for us because there’s so many of us here,” she said, and added that her whole family works in the wine industry. “We are honestly the ones that make this place run.”\u003c/p>\n\u003cp>Will she be coming back next year?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Of course! ¡Claro que sí!”\u003c/p>\n\u003cfigure id=\"attachment_13958997\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Danna Paola perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danna Paola performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958991\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mauricio Castro (center) dances with his friend at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959003\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959007\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esmeralda Figueroa (left) and her husband Jose Hurtado dance in front of the Verizon Stage as Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. The two live in Napa splurged on tickets to the festival to see Los Ángeles Azules. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959011\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Junior H performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959019\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the Verizon Stage sing along passionately as Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wear ponchos as temperatures drop at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959063\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the La Onda stage as Maná headlines La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959069\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Diaz Mota (center) enjoys Maná’s performance late into the night at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959071\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sways to the beat as Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959038\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers perform a traditional Aztec ceremony at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sara Velez (left) and her sister Bianett Velez proudly flaunt matching Maná shirts at La Onda festival on Sunday, June 2, 2024. The siblings traveled from Stockton to see Maná and attend their first festival together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959040\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959040\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch a lucha libre match during La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Napa resident Manuel De la Pena shouts with delight as he watches a lucha libre match at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees walk past Catrina sculptures, among the vibrant decorations honoring Latinx culture at La Onda festival on Sunday, June 2, 2024 at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enthusiastic fans in the front row of the Verizon Stage wave roses as Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Café Tacvba performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959064\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Latinos from all over the West Coast came to Napa to see Maná, Junior H, Los Ángeles Azules and more.",
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"title": "PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa | KQED",
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"headline": "PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Los Ángeles Azules have opened their live performances with the refrain “de Iztapalapa para el mundo” (“from Iztapalapa to the world”), a message that reflects how their flavor of cumbia from Iztapalapa, Mexico City has become a global institution.\u003c/p>\n\u003cp>But at their Sunday performance at the first-ever Festival La Onda at the Napa Valley Expo, the group shared with the audience of thousands a slightly different message: “de Iztapalapa para Napa” — “from Iztapalapa to Napa.”\u003c/p>\n\u003cp>Indeed, Iztapalapa had reached Napa. And so had the Latin American diaspora. On June 1-2, La Onda filled Napa Valley with a star-studded lineup of Spanish-speaking artists. The creators of the event — the same team that produced \u003ca href=\"https://www.kqed.org/arts/13958567/bottlerock-2024-photo-highlights-recap\">BottleRock\u003c/a> just a week before — wanted to create a major music festival dedicated to the Latino community of the Bay Area.\u003c/p>\n\u003cp>And they succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13959000\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Farruko performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reggaetón star Farruko had the crowd jumping on Saturday with hits like “Pepas” and “La Tóxica.” Chilean indie artist Mon Laferte had fans in tears when she performed “Tu Falta de Querer” and “Si tú me quisieras.” Danna Paola — who began her career at just four years old on Mexican television and reached global fame after joining Netflix’s \u003cem>Élite\u003c/em> in 2018 — proclaimed the start of Pride month with “TQ Y YA,” a queer love anthem that proclaims in its chorus “amor es amor y que nadie se meta” (“love is love and nobody else needs to get involved”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival was truly blessed with its lineup of superstars from both rock en español and regional mexicano. Never has the Bay Area seen these two worlds come together so seamlessly. Rockero icons like Café Tacvba, Maná and Maldita Vecindad blasted timeless hits only a few couple hundred feet from where regional artists like Eslabón Armado, Junior H, Yahritza y su Esencia and La Arrolladora performed.\u003c/p>\n\u003cfigure id=\"attachment_13959059\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans at the festival were just as diverse as the genres represented on stage. Thousands of Latinos from all over the West Coast filled the Napa Valley Expo grounds. Perhaps only at \u003ca href=\"https://www.kqed.org/news/11987764/carnaval-san-francisco-celebrates-46-years-with-spectacular-mission-street-parade\">Carnaval San Francisco\u003c/a> do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.\u003c/p>\n\u003cp>While the majority of the crowd could be spotted with vaqueras and waving Mexican flags, there definitely were fans rocking Colombian vueltiao sombreros, Salvadoran jerseys and bandanas with Nicaraguan flags.\u003c/p>\n\u003cfigure id=\"attachment_13959058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Fuerza Regida perform at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt now that a festival featuring only Latino artists — playing music essentially only in Spanish — can succeed in the Bay Area.\u003c/p>\n\u003cp>And most importantly, the Latino community of the North Bay was very well represented. Over a third of Napa County’s population identifies as Latino and the region’s world famous wine industry, which brings billions of dollars in investment and tourism, depends on the labor of tens of thousands of Latino and Indigenous workers.\u003c/p>\n\u003cp>Natalie Arana, who lives in Napa County and came with her husband, says she immediately signed up for the ticket presale when she heard a Latino music festival was coming. “It made me very happy that they’re finally doing something for us because there’s so many of us here,” she said, and added that her whole family works in the wine industry. “We are honestly the ones that make this place run.”\u003c/p>\n\u003cp>Will she be coming back next year?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Of course! ¡Claro que sí!”\u003c/p>\n\u003cfigure id=\"attachment_13958997\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Danna Paola perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danna Paola performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958991\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mauricio Castro (center) dances with his friend at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959003\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959007\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esmeralda Figueroa (left) and her husband Jose Hurtado dance in front of the Verizon Stage as Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. The two live in Napa splurged on tickets to the festival to see Los Ángeles Azules. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959011\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Junior H performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959019\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the Verizon Stage sing along passionately as Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wear ponchos as temperatures drop at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959063\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the La Onda stage as Maná headlines La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959069\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Diaz Mota (center) enjoys Maná’s performance late into the night at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959071\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sways to the beat as Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959038\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers perform a traditional Aztec ceremony at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sara Velez (left) and her sister Bianett Velez proudly flaunt matching Maná shirts at La Onda festival on Sunday, June 2, 2024. The siblings traveled from Stockton to see Maná and attend their first festival together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959040\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959040\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch a lucha libre match during La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Napa resident Manuel De la Pena shouts with delight as he watches a lucha libre match at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees walk past Catrina sculptures, among the vibrant decorations honoring Latinx culture at La Onda festival on Sunday, June 2, 2024 at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enthusiastic fans in the front row of the Verizon Stage wave roses as Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Café Tacvba performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959064\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Nomeansno, an Honorary Bay Area Band, Returns With a Book and Side Project",
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"content": "\u003cp>Betrayal. Power. Defeat. Sex. Obliteration. Love. For the abrasive, acerbic Canadian trio Nomeansno, which coalesced on the fringes of the anti-Reagan punk scene of the 1980s, political songs were \u003cem>boorish\u003c/em>. The grotesque nature of human existence, though? Bring it on — and add a wry twist.\u003c/p>\n\u003cp>As the recent book \u003cem>\u003ca href=\"https://pmpress.org/index.php?l=product_detail&p=1505\">Nomeansno: From Obscurity to Oblivion\u003c/a>\u003c/em> (PM Press; $29.95) details, here in the Bay Area, Nomeansno were swiftly adopted as one of our own. An early Nomeansno show at a Berkeley pizza parlor inspired the creation of famed punk collective 924 Gilman. San Francisco’s Alternative Tentacles Records quickly signed them. They developed kinship with local bands like Victims Family, and, on short jaunts from their native Victoria, played shows with Bay Area favorites including Neurosis, Jawbreaker and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13958783\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity.jpg\" alt=\"\" width=\"838\" height=\"1000\" class=\"size-full wp-image-13958783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity.jpg 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity-768x916.jpg 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Nomeansno: From Obscurity to Oblivion’ contains hundreds of interviews, flyers, photos and more. \u003ccite>(PM Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An excellent oral history compiled by Jason Lamb, \u003cem>From Obscurity to Oblivion\u003c/em> also shows Nomeansno’s less definable connection with the Bay Area, and its renegade, experimental spirit. “Doing something wrong until it’s right” could be an apt motto for the band. (See also: their \u003ca href=\"https://alternativetentacles.com/products/v077-nomeansno-wrong\">just-reissued\u003c/a> landmark 1989 album, titled \u003cem>Wrong\u003c/em>.) In this, they retain a special status in the area code that produced punk outsiders like Flipper, the Residents, the Beatnigs, Primus and Negativland.\u003c/p>\n\u003cp>Nomeansno formally broke up in 2016, but drummer John Wright has a new band, Dead Bob, whose 2023 LP \u003cem>Life Like\u003c/em> has scratched the itch of longtime fans. Dead Bob is currently out on a tour of the American West playing originals and Nomeansno songs alike, and for their Bay Area show, expect a special sort of homecoming.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Dead Bob, with John Wright from Nomeansno, performs on Thursday, May 30, at the Great American Music Hall. Opening the show are Lung, The Freak Accident and Moms with Bangs. \u003ca href=\"https://wl.seetickets.us/event/dead-bob-a-new-project-from-john-wright-of-nomeansno/602644?afflky=GreatAmericanMusicHall\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Betrayal. Power. Defeat. Sex. Obliteration. Love. For the abrasive, acerbic Canadian trio Nomeansno, which coalesced on the fringes of the anti-Reagan punk scene of the 1980s, political songs were \u003cem>boorish\u003c/em>. The grotesque nature of human existence, though? Bring it on — and add a wry twist.\u003c/p>\n\u003cp>As the recent book \u003cem>\u003ca href=\"https://pmpress.org/index.php?l=product_detail&p=1505\">Nomeansno: From Obscurity to Oblivion\u003c/a>\u003c/em> (PM Press; $29.95) details, here in the Bay Area, Nomeansno were swiftly adopted as one of our own. An early Nomeansno show at a Berkeley pizza parlor inspired the creation of famed punk collective 924 Gilman. San Francisco’s Alternative Tentacles Records quickly signed them. They developed kinship with local bands like Victims Family, and, on short jaunts from their native Victoria, played shows with Bay Area favorites including Neurosis, Jawbreaker and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13958783\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity.jpg\" alt=\"\" width=\"838\" height=\"1000\" class=\"size-full wp-image-13958783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity.jpg 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nomeansno.fromobscurity-768x916.jpg 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Nomeansno: From Obscurity to Oblivion’ contains hundreds of interviews, flyers, photos and more. \u003ccite>(PM Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An excellent oral history compiled by Jason Lamb, \u003cem>From Obscurity to Oblivion\u003c/em> also shows Nomeansno’s less definable connection with the Bay Area, and its renegade, experimental spirit. “Doing something wrong until it’s right” could be an apt motto for the band. (See also: their \u003ca href=\"https://alternativetentacles.com/products/v077-nomeansno-wrong\">just-reissued\u003c/a> landmark 1989 album, titled \u003cem>Wrong\u003c/em>.) In this, they retain a special status in the area code that produced punk outsiders like Flipper, the Residents, the Beatnigs, Primus and Negativland.\u003c/p>\n\u003cp>Nomeansno formally broke up in 2016, but drummer John Wright has a new band, Dead Bob, whose 2023 LP \u003cem>Life Like\u003c/em> has scratched the itch of longtime fans. Dead Bob is currently out on a tour of the American West playing originals and Nomeansno songs alike, and for their Bay Area show, expect a special sort of homecoming.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Dead Bob, with John Wright from Nomeansno, performs on Thursday, May 30, at the Great American Music Hall. Opening the show are Lung, The Freak Accident and Moms with Bangs. \u003ca href=\"https://wl.seetickets.us/event/dead-bob-a-new-project-from-john-wright-of-nomeansno/602644?afflky=GreatAmericanMusicHall\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock",
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"content": "\u003cp>It truly felt like the start of Hot Girl Summer this weekend, when tens of thousands of fans descended upon the Napa Valley Expo to see Megan Thee Stallion, Stevie Nicks, Pearl Jam and Ed Sheeran at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>. Taking place May 24–26, the Wine Country music festival paired a star-studded, multigenerational lineup with the region’s food and beverage offerings.\u003c/p>\n\u003cp>On Friday, Nelly served up 2000s hip-hop nostalgia, while St. Vincent serenaded the crowd with indie rock at once operatic, gritty and funky. Megan Thee Stallion telegraphed raw confidence and sexual power when she took the stage during her explosive Friday night set. On the opposite stage, Nicks, one of rock ’n’ roll’s all-time greats, had fans of all ages singing and swaying with nostalgia. [aside postid='arts_13958544']\u003c/p>\n\u003cp>Saturday represented a powerful moment of ascension for Vallejo hometown hero LaRussell, whose heartfelt rhymes charmed the crowd right before Pearl Jam headlined at sunset. Later in the evening, Kali Uchis’ pirouetting vocals enraptured the audience as she telegraphed goddess-like feminine power.\u003c/p>\n\u003cp>BottleRock closed out Sunday with Sheeran, high-octane ’90s rockers Queens of the Stone Age and mellow vibes from Stephen Marley. Photographer Estefany Gonzalez was there to capture all the moments of joy and musical celebration. Take a look at her highlights below.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13958587\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958592\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958591\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shanaya Stephenson, Crystal Nattoo, and Stephanie Yang wear anime-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958598\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958595\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Doyle (left) and her husband Caleb Schneider dance as Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958583\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Loveless performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958582\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Williams (left) and Anyei Smith pose for a portrait in their western-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. The two traveled from San Jose to attend the festival and decorated their cowboy hats by hand in honor of Texan artist Megan Thee Stallion. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958603\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958602\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958613\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alisha Mays (center) twerks from the crowd as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Luna (right) dances with friends in front of the Verizon Stage as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958617\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958620\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958621\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival-goers stroll across the vibrant grounds of BottleRock Napa Valley on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958622\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees sprawl across the lively expanse of BottleRock Napa Valley, soaking in the festival atmosphere on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bianca Del Rio, left, Neil Patrick Harris, and David Burtka host a panel at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">T-Pain performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Steph Curry signs 13-year-old Deven Patel’s sneakers on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of fans gather to watch Golden State Warriors’ Steph Curry, Bradley Cooper and Chef Jose Andrés on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958635\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-time BottleRock Attendees Allyson Van de Mark (right) and her husband Jacob Davis dance in front of the Truly Stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958637\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Deep Sea Diver performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958643\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Osmara Venegas, Marilyn Martin and Griselda Ochoa dance at the lively silent disco during BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958648\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock attendees lounge at the Spa at BottleRock Napa Valley festival on Sunday, May 26, 2024. The Spa allows BottleRock attendees to purchase foot and body massages, mini facials, hair styling and braiding, glitter makeup, custom festival jewelry, and hydration therapy for attendees to rest, recover or glam up. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Action Bronson performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Norah Jones performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958656\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958656\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958657\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Offspring performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958658\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ariel Thomas (left) and her 5-year-old daughter Aurora Duarte soak in The Offspring’s performance from the front row of the Verizon Stage at BottleRock Napa Valley festival on Sunday, May 26, 2024. The duo journeyed from Modesto for Duarte’s first concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (center) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (left) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958670\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958674\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Queens of the Stone Age perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958677\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13958600\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "The Napa music festival ushered in the summer with a star-studded lineup.",
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"title": "PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It truly felt like the start of Hot Girl Summer this weekend, when tens of thousands of fans descended upon the Napa Valley Expo to see Megan Thee Stallion, Stevie Nicks, Pearl Jam and Ed Sheeran at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>. Taking place May 24–26, the Wine Country music festival paired a star-studded, multigenerational lineup with the region’s food and beverage offerings.\u003c/p>\n\u003cp>On Friday, Nelly served up 2000s hip-hop nostalgia, while St. Vincent serenaded the crowd with indie rock at once operatic, gritty and funky. Megan Thee Stallion telegraphed raw confidence and sexual power when she took the stage during her explosive Friday night set. On the opposite stage, Nicks, one of rock ’n’ roll’s all-time greats, had fans of all ages singing and swaying with nostalgia. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday represented a powerful moment of ascension for Vallejo hometown hero LaRussell, whose heartfelt rhymes charmed the crowd right before Pearl Jam headlined at sunset. Later in the evening, Kali Uchis’ pirouetting vocals enraptured the audience as she telegraphed goddess-like feminine power.\u003c/p>\n\u003cp>BottleRock closed out Sunday with Sheeran, high-octane ’90s rockers Queens of the Stone Age and mellow vibes from Stephen Marley. Photographer Estefany Gonzalez was there to capture all the moments of joy and musical celebration. Take a look at her highlights below.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13958587\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958592\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958591\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shanaya Stephenson, Crystal Nattoo, and Stephanie Yang wear anime-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958598\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958595\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Doyle (left) and her husband Caleb Schneider dance as Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958583\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Loveless performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958582\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Williams (left) and Anyei Smith pose for a portrait in their western-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. The two traveled from San Jose to attend the festival and decorated their cowboy hats by hand in honor of Texan artist Megan Thee Stallion. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958603\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958602\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958613\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alisha Mays (center) twerks from the crowd as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Luna (right) dances with friends in front of the Verizon Stage as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958617\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958620\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958621\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival-goers stroll across the vibrant grounds of BottleRock Napa Valley on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958622\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees sprawl across the lively expanse of BottleRock Napa Valley, soaking in the festival atmosphere on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bianca Del Rio, left, Neil Patrick Harris, and David Burtka host a panel at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">T-Pain performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Steph Curry signs 13-year-old Deven Patel’s sneakers on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of fans gather to watch Golden State Warriors’ Steph Curry, Bradley Cooper and Chef Jose Andrés on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958635\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-time BottleRock Attendees Allyson Van de Mark (right) and her husband Jacob Davis dance in front of the Truly Stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958637\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Deep Sea Diver performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958643\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Osmara Venegas, Marilyn Martin and Griselda Ochoa dance at the lively silent disco during BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958648\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock attendees lounge at the Spa at BottleRock Napa Valley festival on Sunday, May 26, 2024. The Spa allows BottleRock attendees to purchase foot and body massages, mini facials, hair styling and braiding, glitter makeup, custom festival jewelry, and hydration therapy for attendees to rest, recover or glam up. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Action Bronson performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Norah Jones performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958656\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958656\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958657\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Offspring performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958658\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ariel Thomas (left) and her 5-year-old daughter Aurora Duarte soak in The Offspring’s performance from the front row of the Verizon Stage at BottleRock Napa Valley festival on Sunday, May 26, 2024. The duo journeyed from Modesto for Duarte’s first concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (center) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (left) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958670\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958674\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Queens of the Stone Age perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958677\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13958600\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bottlerock-kali-uchis-review-photos",
"title": "At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos",
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"headTitle": "At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos | KQED",
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"content": "\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "BottleRock Kali Uchis Review: An Otherworldly Night | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "swagger-like-us-queer-hip-hop-nightlife-san-francisco",
"title": "How Swagger Like Us Pushed Queer Hip-Hop Forward in SF",
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"headTitle": "How Swagger Like Us Pushed Queer Hip-Hop Forward in SF | KQED",
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"content": "\u003cp>[dropcap]O[/dropcap]n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>[dropcap]“T[/dropcap]he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>[dropcap]I[/dropcap] see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>[aside postid='arts_13938947']Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.[aside postid='arts_13928057']\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n",
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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>n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The U.S. Justice Department filed a sweeping antitrust lawsuit against Ticketmaster and parent company Live Nation Entertainment on Thursday, accusing them of running an illegal monopoly over live events in America — squelching competition and driving up prices for fans.\u003c/p>\n\u003cp>The lawsuit, filed in federal court in Manhattan, was brought with 30 state and district attorneys general, and seeks to break up the monopoly they say is squeezing out smaller promoters, hurting artists and drowning fans with endless fees.\u003c/p>\n\u003cp>“It’s time for fans and artists to stop paying the price for Live Nation’s monopoly,” Attorney General Merrick Garland said Thursday. “It is time to restore competition and innovation in the entertainment industry. It is time to break up Live Nation, Ticketmaster. The American people are ready for it.”\u003c/p>\n\u003cp>[aside postID='forum_2010101892062']The Justice Department accused Live Nation of a slew of tactics — including threats and retaliation — that Garland said has allowed the entertainment giant to “suffocate the competition” by keeping a stronghold on virtually every aspect of the industry, from concert promotion to ticketing. The impact on consumers is seen in an “endless list of fees on fans,” the attorney general said.\u003c/p>\n\u003cp>“Live music should not be available only to those who can afford to pay the Ticketmaster tax,” said Assistant Attorney General Jonathan Kanter of the Justice Department’s Antitrust Division. “We are here today to fight for competition so that we can reopen the doors to the live music industry for all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation has for years denied that it is violating antitrust laws and said Thursday that the lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows.”\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg\" alt=\"A large concert venue with people sitting on the lawn.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater in Mountain View is one of hundreds of concert venues operated by Live Nation, which merged with Ticketmaster in 2010.\u003c/figcaption>\u003c/figure>\n\u003cp>“Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment,” Live Nation added, stating that most service fees go to venues and that outside competition has “steadily eroded” Ticketmaster’s market share. The company said it would defend itself “against these baseless allegations” and push for other reforms.\u003c/p>\n\u003cp>Around 70% of tickets for major concert venues in the U.S. are sold through Ticketmaster, according to data in a federal lawsuit filed by consumers in 2022.\u003c/p>\n\u003cp>Live Nation owns or controls more than 265 of North America’s concert venues and dozens of top amphitheaters, according to the Justice Department. In the Bay Area, those include The Fillmore, the Shoreline Amphitheater, the Masonic, August Hall, the Toyota Pavilion at Concord, and the comedy clubs Cobb’s and the Punch Line. \u003c/p>\n\u003cp>Live Nation also contracts regularly with most commercial concert venues in the Bay Area. Those include large venues like Oracle Park, the Chase Center, the SAP Center and the Oakland Arena; theaters like the Paramount Theatre and the Rio Theater; and an increasing number of smaller clubs like the Chapel and Cafe du Nord.\u003c/p>\n\u003cp>[aside postID='arts_13926475']The Justice Department said Live Nation’s anti-competitive practices include using long-term contracts to keep venues from choosing rival ticketers, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and fans if they don’t choose Ticketmaster. The Justice Department says Live Nation also threatened to retaliate against one firm if it didn’t stop a subsidiary from competing for artist promotion contracts.\u003c/p>\n\u003cp>The lawsuit is the latest example of the Biden administration’s aggressive antitrust enforcement approach targeting companies accused of engaging in illegal monopolies that box out competitors and drive up prices. In March, the Justice Department filed a lawsuit against Apple alleging that the tech giant has monopoly power in the smartphone market. The Democratic administration has also taken on Google, Amazon and other tech giants.\u003c/p>\n\u003cp>Ticketmaster, which merged with Live Nation in 2010, is the world’s largest ticket seller. During its annual report last month, the company said that Ticketmaster distributed more than 620 million tickets through its systems in 2023.\u003c/p>\n\u003cp>[aside postID='arts_13923059']Ticketmaster sparked outrage in November 2022 when its site crashed during a presale event for a Taylor Swift stadium tour. The company said its site was overwhelmed by both fans and attacks from bots, which were posing as consumers to scoop up tickets and sell them on secondary sites. The debacle prompted congressional hearings and bills in state legislatures aimed at better protecting consumers.\u003c/p>\n\u003cp>The Justice Department allowed Live Nation and Ticketmaster to merge as long as Live Nation agreed not to retaliate against concert venues for using other ticket companies for 10 years. In 2019, the department investigated and found that Live Nation had “repeatedly” violated that agreement and extended the prohibition on retaliating against concert venues to 2025.\u003c/p>\n\u003cp>Ticketmaster has clashed repeatedly with artists and fans over the years. Pearl Jam took aim at the company in 1994, although the Justice Department ultimately declined to bring a case. More recently, Bruce Springsteen fans were enraged over high ticket costs because of the platform’s dynamic pricing system.\u003c/p>\n\u003cp>Ticketmaster has also had disputes with its industry competitors. In 2015 StubHub sued Ticketmaster and the Golden State Warriors, alleging it unfairly required fans looking to resell tickets to use Ticketmaster’s resale exchange. StubHub alleged in the lawsuit that the organizations prevented fans from deciding how they want to resell tickets and artificially drove up ticket prices.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Grantham-Philips reported from New York. AP Reporters Michelle Chapman and Maria Sherman also contributed from New York. KQED editor Gabe Meline provided additional reporting. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.S. Justice Department filed a sweeping antitrust lawsuit against Ticketmaster and parent company Live Nation Entertainment on Thursday, accusing them of running an illegal monopoly over live events in America — squelching competition and driving up prices for fans.\u003c/p>\n\u003cp>The lawsuit, filed in federal court in Manhattan, was brought with 30 state and district attorneys general, and seeks to break up the monopoly they say is squeezing out smaller promoters, hurting artists and drowning fans with endless fees.\u003c/p>\n\u003cp>“It’s time for fans and artists to stop paying the price for Live Nation’s monopoly,” Attorney General Merrick Garland said Thursday. “It is time to restore competition and innovation in the entertainment industry. It is time to break up Live Nation, Ticketmaster. The American people are ready for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department accused Live Nation of a slew of tactics — including threats and retaliation — that Garland said has allowed the entertainment giant to “suffocate the competition” by keeping a stronghold on virtually every aspect of the industry, from concert promotion to ticketing. The impact on consumers is seen in an “endless list of fees on fans,” the attorney general said.\u003c/p>\n\u003cp>“Live music should not be available only to those who can afford to pay the Ticketmaster tax,” said Assistant Attorney General Jonathan Kanter of the Justice Department’s Antitrust Division. “We are here today to fight for competition so that we can reopen the doors to the live music industry for all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation has for years denied that it is violating antitrust laws and said Thursday that the lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows.”\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg\" alt=\"A large concert venue with people sitting on the lawn.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater in Mountain View is one of hundreds of concert venues operated by Live Nation, which merged with Ticketmaster in 2010.\u003c/figcaption>\u003c/figure>\n\u003cp>“Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment,” Live Nation added, stating that most service fees go to venues and that outside competition has “steadily eroded” Ticketmaster’s market share. The company said it would defend itself “against these baseless allegations” and push for other reforms.\u003c/p>\n\u003cp>Around 70% of tickets for major concert venues in the U.S. are sold through Ticketmaster, according to data in a federal lawsuit filed by consumers in 2022.\u003c/p>\n\u003cp>Live Nation owns or controls more than 265 of North America’s concert venues and dozens of top amphitheaters, according to the Justice Department. In the Bay Area, those include The Fillmore, the Shoreline Amphitheater, the Masonic, August Hall, the Toyota Pavilion at Concord, and the comedy clubs Cobb’s and the Punch Line. \u003c/p>\n\u003cp>Live Nation also contracts regularly with most commercial concert venues in the Bay Area. Those include large venues like Oracle Park, the Chase Center, the SAP Center and the Oakland Arena; theaters like the Paramount Theatre and the Rio Theater; and an increasing number of smaller clubs like the Chapel and Cafe du Nord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department said Live Nation’s anti-competitive practices include using long-term contracts to keep venues from choosing rival ticketers, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and fans if they don’t choose Ticketmaster. The Justice Department says Live Nation also threatened to retaliate against one firm if it didn’t stop a subsidiary from competing for artist promotion contracts.\u003c/p>\n\u003cp>The lawsuit is the latest example of the Biden administration’s aggressive antitrust enforcement approach targeting companies accused of engaging in illegal monopolies that box out competitors and drive up prices. In March, the Justice Department filed a lawsuit against Apple alleging that the tech giant has monopoly power in the smartphone market. The Democratic administration has also taken on Google, Amazon and other tech giants.\u003c/p>\n\u003cp>Ticketmaster, which merged with Live Nation in 2010, is the world’s largest ticket seller. During its annual report last month, the company said that Ticketmaster distributed more than 620 million tickets through its systems in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster sparked outrage in November 2022 when its site crashed during a presale event for a Taylor Swift stadium tour. The company said its site was overwhelmed by both fans and attacks from bots, which were posing as consumers to scoop up tickets and sell them on secondary sites. The debacle prompted congressional hearings and bills in state legislatures aimed at better protecting consumers.\u003c/p>\n\u003cp>The Justice Department allowed Live Nation and Ticketmaster to merge as long as Live Nation agreed not to retaliate against concert venues for using other ticket companies for 10 years. In 2019, the department investigated and found that Live Nation had “repeatedly” violated that agreement and extended the prohibition on retaliating against concert venues to 2025.\u003c/p>\n\u003cp>Ticketmaster has clashed repeatedly with artists and fans over the years. Pearl Jam took aim at the company in 1994, although the Justice Department ultimately declined to bring a case. More recently, Bruce Springsteen fans were enraged over high ticket costs because of the platform’s dynamic pricing system.\u003c/p>\n\u003cp>Ticketmaster has also had disputes with its industry competitors. In 2015 StubHub sued Ticketmaster and the Golden State Warriors, alleging it unfairly required fans looking to resell tickets to use Ticketmaster’s resale exchange. StubHub alleged in the lawsuit that the organizations prevented fans from deciding how they want to resell tickets and artificially drove up ticket prices.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Grantham-Philips reported from New York. AP Reporters Michelle Chapman and Maria Sherman also contributed from New York. KQED editor Gabe Meline provided additional reporting. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Charlie Colin, a founding member of the San Francisco rock band Train, has died at age 58. \u003c/p>\n\u003cp>Colin had been living in Brussels and was housesitting for a friend when he apparently slipped and fell in the shower, according to a \u003ca href=\"https://www.tmz.com/2024/05/22/charlie-colin-dead-dies-train-founding-member-fall-shower/\">TMZ\u003c/a> report.\u003c/p>\n\u003cp>Train was formed in San Francisco in the mid-1990s, and went on to enjoy massive commercial success with hits like “Hey Soul Sister,” “Drops of Jupiter” and “Save Me, San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13958370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg\" alt=\"A man in sunglasses plays the bass guitar while a man sings next to him\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charlie Colin and Pat Monahan of Train perform at the Borgata in Atlantic City in 2006. \u003ccite>(Nick Valinote/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colin’s mother told TMZ that, in Brussels, Colin had been teaching a music masterclass and working at a studio. It was unclear exactly when he died; his body was discovered when friends returned to the home he had been housesitting. \u003c/p>\n\u003cp>Train, led by frontman Pat Monahan, posted a remembrance on Wednesday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I met Charlie Colin, front left, I fell in love with him,” it read. “He was THE sweetest guy and what a handsome chap. Let’s make a band that’s the only reasonable thing to do. His unique bass playing and beautiful guitar work helped get folks to notice us in SF and beyond. I’ll always have a warm place for him in my heart. I always tried to pull him closer but he had a vision of his own. You’re a legend, Charlie. Go charm the pants off those angels.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charlie Colin, a founding member of the San Francisco rock band Train, has died at age 58. \u003c/p>\n\u003cp>Colin had been living in Brussels and was housesitting for a friend when he apparently slipped and fell in the shower, according to a \u003ca href=\"https://www.tmz.com/2024/05/22/charlie-colin-dead-dies-train-founding-member-fall-shower/\">TMZ\u003c/a> report.\u003c/p>\n\u003cp>Train was formed in San Francisco in the mid-1990s, and went on to enjoy massive commercial success with hits like “Hey Soul Sister,” “Drops of Jupiter” and “Save Me, San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13958370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg\" alt=\"A man in sunglasses plays the bass guitar while a man sings next to him\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charlie Colin and Pat Monahan of Train perform at the Borgata in Atlantic City in 2006. \u003ccite>(Nick Valinote/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colin’s mother told TMZ that, in Brussels, Colin had been teaching a music masterclass and working at a studio. It was unclear exactly when he died; his body was discovered when friends returned to the home he had been housesitting. \u003c/p>\n\u003cp>Train, led by frontman Pat Monahan, posted a remembrance on Wednesday. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I met Charlie Colin, front left, I fell in love with him,” it read. “He was THE sweetest guy and what a handsome chap. Let’s make a band that’s the only reasonable thing to do. His unique bass playing and beautiful guitar work helped get folks to notice us in SF and beyond. I’ll always have a warm place for him in my heart. I always tried to pull him closer but he had a vision of his own. You’re a legend, Charlie. Go charm the pants off those angels.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the Coterie Den, San José Artists Work, Play and Dream",
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"content": "\u003cp>Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">hyphy architect Traxamillion\u003c/a> — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">DJ and producer Peanut Butter Wolf\u003c/a> started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.\u003c/p>\n\u003cp>Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.\u003c/p>\n\u003cp>Their home base? \u003ca href=\"https://thecoterieden.com/?gclid=CjwKCAjwr7ayBhAPEiwA6EIGxNSvr7d6O2ylnXK4DCPlGvZlHPFCsD2nQclmHc5j3ls2ijcGDyQu3hoCZVoQAvD_BwE\">The Coterie Den\u003c/a>.\u003c/p>\n\u003cp>It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.\u003c/p>\n\u003cp>Twenty-eight-year-old rapper and event producer \u003ca href=\"https://www.instagram.com/ljames408/\">LJame$\u003c/a>, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.\u003c/p>\n\u003cfigure id=\"attachment_13956255\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.\u003c/p>\n\u003cp>He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.\u003c/p>\n\u003cfigure id=\"attachment_13958339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In-house engineer \u003ca href=\"https://www.instagram.com/isandro.flp/\">Isandro\u003c/a> — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “\u003ca href=\"https://youtu.be/doblhgONeJU?si=gQcyHUZt-Ze7x6U2\">Heart2Heart\u003c/a>” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.\u003c/p>\n\u003cp>“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”\u003c/p>\n\u003cp>Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”\u003c/p>\n\u003cfigure id=\"attachment_13958341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop incubator\u003c/h2>\n\u003cp>When I visit the Coterie Den during their open mic season finale in late April, \u003ca href=\"https://www.instagram.com/saysumentertainment/\">Say Sum Entertainment\u003c/a> — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder \u003ca href=\"https://www.instagram.com/415johnjohn/\">John John\u003c/a>. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.\u003c/p>\n\u003cp>The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.\u003c/p>\n\u003cp>“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member \u003ca href=\"https://www.instagram.com/3ddev/\">3DDev\u003c/a>. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on \u003cem>American Idol\u003c/em>. The next day I went to the studio and made sure I took the time to polish my skills.”\u003c/p>\n\u003cfigure id=\"attachment_13958344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper \u003ca href=\"https://www.instagram.com/401ksey/\">401k$ey\u003c/a>, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.\u003c/p>\n\u003cp>A rapper with twin braids and a curly mustache named \u003ca href=\"https://www.instagram.com/estevanamoroso/\">Mr. Amoroso\u003c/a> kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named \u003ca href=\"https://www.instagram.com/chloe12354/\">Chlo\u003c/a> breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And \u003ca href=\"https://www.instagram.com/westsidemoe_/\">Westside Moe\u003c/a> charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.\u003c/p>\n\u003cfigure id=\"attachment_13956261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.\u003c/p>\n\u003cp>When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.\u003c/p>\n\u003cp>“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”\u003c/p>\n\u003cp>At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.\u003c/p>\n\u003cfigure id=\"attachment_13958343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A melting pot in Japantown\u003c/h2>\n\u003cp>The Coterie Den is one of the newer businesses in \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">Japantown\u003c/a>, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression. [aside postid='arts_13904788']\u003c/p>\n\u003cp>LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique \u003ca href=\"https://www.instagram.com/headliners/?hl=en\">Headliners\u003c/a> in 2011. With the addition of \u003ca href=\"https://www.instagram.com/coldwater.sj/\">Coldwater\u003c/a>, known for its \u003ca href=\"https://www.instagram.com/madebyrila/\">airbrushed sportswear\u003c/a> and in-house streetwear brand \u003ca href=\"https://www.instagram.com/juboclothing/\">Jubo\u003c/a>, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.\u003c/p>\n\u003cp>“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”\u003c/p>\n\u003cfigure id=\"attachment_13958345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”\u003c/p>\n\u003cp>“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, \u003ca href=\"https://www.instagram.com/ruuubess/\">Ruby Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a \u003ca href=\"https://www.instagram.com/p/C7O98w8RUYI/?img_index=1\">Japantown vintage and thrift market\u003c/a>; on June 2, they’re sponsoring a \u003ca href=\"https://thecoterieden.com/packages/ols/categories/sunday-funday-tickets\">Sunday Funday\u003c/a> networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at \u003ca href=\"https://thecoterieden.com/packages/ols/categories/innovative-meet-up-tickets\">Innovative Meetup\u003c/a>.\u003c/p>\n\u003cp>The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">hyphy architect Traxamillion\u003c/a> — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">DJ and producer Peanut Butter Wolf\u003c/a> started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.\u003c/p>\n\u003cp>Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.\u003c/p>\n\u003cp>Their home base? \u003ca href=\"https://thecoterieden.com/?gclid=CjwKCAjwr7ayBhAPEiwA6EIGxNSvr7d6O2ylnXK4DCPlGvZlHPFCsD2nQclmHc5j3ls2ijcGDyQu3hoCZVoQAvD_BwE\">The Coterie Den\u003c/a>.\u003c/p>\n\u003cp>It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.\u003c/p>\n\u003cp>Twenty-eight-year-old rapper and event producer \u003ca href=\"https://www.instagram.com/ljames408/\">LJame$\u003c/a>, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.\u003c/p>\n\u003cfigure id=\"attachment_13956255\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.\u003c/p>\n\u003cp>He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.\u003c/p>\n\u003cfigure id=\"attachment_13958339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In-house engineer \u003ca href=\"https://www.instagram.com/isandro.flp/\">Isandro\u003c/a> — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “\u003ca href=\"https://youtu.be/doblhgONeJU?si=gQcyHUZt-Ze7x6U2\">Heart2Heart\u003c/a>” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.\u003c/p>\n\u003cp>“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”\u003c/p>\n\u003cp>Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”\u003c/p>\n\u003cfigure id=\"attachment_13958341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop incubator\u003c/h2>\n\u003cp>When I visit the Coterie Den during their open mic season finale in late April, \u003ca href=\"https://www.instagram.com/saysumentertainment/\">Say Sum Entertainment\u003c/a> — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder \u003ca href=\"https://www.instagram.com/415johnjohn/\">John John\u003c/a>. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.\u003c/p>\n\u003cp>The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.\u003c/p>\n\u003cp>“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member \u003ca href=\"https://www.instagram.com/3ddev/\">3DDev\u003c/a>. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on \u003cem>American Idol\u003c/em>. The next day I went to the studio and made sure I took the time to polish my skills.”\u003c/p>\n\u003cfigure id=\"attachment_13958344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper \u003ca href=\"https://www.instagram.com/401ksey/\">401k$ey\u003c/a>, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.\u003c/p>\n\u003cp>A rapper with twin braids and a curly mustache named \u003ca href=\"https://www.instagram.com/estevanamoroso/\">Mr. Amoroso\u003c/a> kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named \u003ca href=\"https://www.instagram.com/chloe12354/\">Chlo\u003c/a> breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And \u003ca href=\"https://www.instagram.com/westsidemoe_/\">Westside Moe\u003c/a> charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.\u003c/p>\n\u003cfigure id=\"attachment_13956261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.\u003c/p>\n\u003cp>When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.\u003c/p>\n\u003cp>“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”\u003c/p>\n\u003cp>At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.\u003c/p>\n\u003cfigure id=\"attachment_13958343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A melting pot in Japantown\u003c/h2>\n\u003cp>The Coterie Den is one of the newer businesses in \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">Japantown\u003c/a>, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique \u003ca href=\"https://www.instagram.com/headliners/?hl=en\">Headliners\u003c/a> in 2011. With the addition of \u003ca href=\"https://www.instagram.com/coldwater.sj/\">Coldwater\u003c/a>, known for its \u003ca href=\"https://www.instagram.com/madebyrila/\">airbrushed sportswear\u003c/a> and in-house streetwear brand \u003ca href=\"https://www.instagram.com/juboclothing/\">Jubo\u003c/a>, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.\u003c/p>\n\u003cp>“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”\u003c/p>\n\u003cfigure id=\"attachment_13958345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”\u003c/p>\n\u003cp>“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, \u003ca href=\"https://www.instagram.com/ruuubess/\">Ruby Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a \u003ca href=\"https://www.instagram.com/p/C7O98w8RUYI/?img_index=1\">Japantown vintage and thrift market\u003c/a>; on June 2, they’re sponsoring a \u003ca href=\"https://thecoterieden.com/packages/ols/categories/sunday-funday-tickets\">Sunday Funday\u003c/a> networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at \u003ca href=\"https://thecoterieden.com/packages/ols/categories/innovative-meet-up-tickets\">Innovative Meetup\u003c/a>.\u003c/p>\n\u003cp>The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kathleen Hanna Transforms Trauma Into Comedic Triumph With Brontez Purnell",
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"content": "\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>[aside postid='arts_13957749']That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later",
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"content": "\u003cp>In 2005, when rapper \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\">Mistah F.A.B.\u003c/a> originally released “N.E.W. Oakland,” he was barely old enough to legally drink. Nearly 20 years later — now a veteran, community fixture and business savant — he’s finally decided to drop the video.\u003c/p>\n\u003cp>Mistah F.A.B. is known for pouring his all into The Town. In addition to running \u003ca href=\"https://www.instagram.com/dopeeraco/?hl=en\">Dope Era\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">a clothing shop that also offers a youth arts development component\u003c/a>), he recently began offering \u003ca href=\"https://www.youtube.com/watch?v=pVbQyGJGWgw\">Thug Therapy\u003c/a> (a free, bimonthly support group for men). But “N.E.W. Oakland” shows how F.A.B. was bringing folks together long before that, with a call for pride and unity in the Oakland hip-hop scene.\u003c/p>\n\u003cp>The ode recounts each side of Oakland (the North, East and West) with a triumvirate of game-certified, lyrically diverse representatives: F.A.B., \u003ca href=\"https://www.instagram.com/trugstack/\">G-Stack\u003c/a> and \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a>. As a young, rising freestyle rapper, Mistah F.A.B. — the self-proclaimed “Prince of the O” — first got the idea when he ran into the pair of Oakland legends, whom he grew up idolizing.\u003c/p>\n\u003cp>“I was in the studio and was like, there go G-Stack, that’s a super pioneer for the culture with [his group] The Delinquents, and what they done for Oakland. Then Bavgate walked into the studio after that. He used to be with No Limit [Records], selling millions,” F.A.B. recalls. “I’m like, ‘I’m from the North, he’s from the East, he’s from the West.’ Let’s do a record about the whole Town being together.”\u003c/p>\n\u003cp>“I had a beat from E-A-Ski and I freestyled the hook,” he continues. “Everyone was like ‘Yeah, that’s cold.’ So we wrote our verses. [But] never would I have thought that ‘N.E.W Oakland’ would be a song that stands as a Bay Area anthem.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_E0FIFuJZ64\u003c/p>\n\u003cp>Unlike so many rap songs about warring factions, “N.E.W. Oakland” brings each side of Oakland together on equal footing, with shout-outs to each neighborhood’s markers. There may not be another hook with as much centrifugal gravity for all of Oakland as when F.A.B. shouts, “I got the North, got the East, got the West with me.”\u003c/p>\n\u003cp>At the time of the song’s release, F.A.B. says that North Oakland wasn’t receiving its proper respect, often being left out of the larger rap conversation, while East and West Oakland rappers got their shine. In the 2005 Keak Da Sneak track “Town Business,” for example, the raspy-voiced linguist rattles off a litany of Oakland locations — but none from the North side.\u003c/p>\n\u003cp>“That was a big record that summer,” F.A.B. says. “I was like ‘Damn, y’all didn’t say nothing about North Oakland.’ So when I did my verse [on ‘N.E.W. Oakland’], I started it out with the same cadence Keak used but it included areas from North Oakland. It was a friendly response to my big brother about how they forgot about us. It’s not no diss or anything. It’s just letting people know about the North.”\u003c/p>\n\u003cp>On the opening verse of “N.E.W. Oakland,” Fabby bombards listeners with references to “the North Pole” — Gaskill, Bushrod, 62nd, Goldenville. He then reminds the Bay Area that Oakland is bigger than its notorious East and West sides: “My side been forgot about and that’s what I’m hot about.” Then he enlists two lyrical giants from each contingent to tell their sides.\u003c/p>\n\u003cp>The song was instantly a hit on street corners, at house parties, lakeside cookouts, car cruises and more. And its unifying theme is surely part of the reason the new video struck such a deep chord with today’s audience after it premiered on May 10.\u003c/p>\n\u003cfigure id=\"attachment_11754468\" class=\"wp-caption alignnone\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11754468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg\" alt=\"Mistah F.A.B. headlines a show honoring the legacy of Oakland's Mac Dre\" width=\"1071\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-960x565.jpg 960w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. made a name for himself during the hyphy movement with his unapologetic representation of North Oakland. \u003ccite>(Photo: Courtesy of Mistah F.A.B.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot and directed by Thee Shooters, the video is a mix of documentary and artistic angling, spanning each rapper’s turf — beginning in the North, then sliding through the Deep East and circling back to Ghost Town in the West. Despite the shift in eras (and technology), the 20-year-old song seems to have even gained a few octaves of trunk-rattling superpowers with each passing year.\u003c/p>\n\u003cp>Bay Area fans seem to agree that it slaps. The comment section under \u003ca href=\"https://www.instagram.com/p/C6zuz27xWyF/\">the “N.E.W. Oakland” video’s Instagram post\u003c/a> is like a group chat of diehard fans and major Bay Area personalities and institutions, including \u003ca href=\"https://www.kqed.org/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3\">Rexx Life Raj\u003c/a>, DB Tha General, 22nd Jim, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, The Grouch and more.\u003c/p>\n\u003cp>“Who here been waiting 20 years for this video button [100 emoji; fire emoji; clapping emoji],” one fan on \u003ca href=\"https://www.youtube.com/watch?v=_E0FIFuJZ64\">YouTube\u003c/a> wrote. “I’m 33 now, this slap came out when I was a freshman in high school!,” says another. And perhaps the one that hits the bullseye: “Maaannn, very smart release.”\u003c/p>\n\u003cp>If it feels rare for a rapper to reach into the archives and shoot original footage for a track that was released nearly a quarter-century ago, that’s because it is. For better or worse, hip-hop has often been presented as a genre of the moment, and the culture is still figuring out how to age gracefully and honor the past — particularly as some of its mainstay figures pass away, and others radically shift gears to stay relevant.\u003c/p>\n\u003cp>In that context, it’s compelling for three well-established rappers to come back in a way that is fresh, dynamic and genuine — not by trying to create a contemporary hit based on today’s TikTok trends, but to honor their past work together in a sincere way.\u003c/p>\n\u003cp>It begs the question: Why isn’t there more of this? If it’s the right song, and it came out at the right time, but there’s no existing video for it, then why not release a video after the fact?\u003c/p>\n\u003ch2>Capturing Oakland, then and now\u003c/h2>\n\u003cp>Back in the day, music videos were mostly financially out of reach for independent rappers — it could’ve cost $25,000 to $50,000 to film a proper one. Without record label budgets, artists learned how to survive out the trunk rather than aspiring for Hollywood’s recognition. In fact, most of Mistah F.A.B.’s legendary discography — along with many of the alpha rappers of his generation and prior — didn’t have official videos until later in their careers. They made mixtapes, and then there were bootleg mixes of pixelated slideshows created by avid fans on YouTube, long before social media existed.\u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption alignnone\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"1499\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w\" sizes=\"(max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For F.A.B., it only felt right to resuscitate an important moment in Oakland’s rap history by providing a video. The idea first came together organically during F.A.B.’s birthday party earlier this year; G-Stack and Bavgate were in attendance. F.A.B. realized he had a film crew available that could do what he didn’t have the ability to do at 21 years old. So he locked it in.\u003c/p>\n\u003cp>“Documentation supersedes conversation,” says Mistah F.A.B., like a professor about to freestyle an entire dissertation. “When it’s locked in, there’s nothing to talk about. We here. You can see it for yourself. We just captured the moment.”\u003c/p>\n\u003cp>The video serves as a testament to not only what Oakland is right now, but what it felt like back then — if not in the physical form, then at least in the spiritual realm. Due to relentless waves of gentrification that have dismantled so many community hubs, it’s hard to imagine what this video might’ve looked like if it came out in ‘05 instead of ‘24. That’s not lost on the artist.\u003c/p>\n\u003cp>“Some of my friends that were there when we made this [song], they’re no longer living,” says F.A.B. Same for physical landmarks that are no longer here: “When I talk about Goldenville, that was a project building we all grew up in. Know what I’m saying? I would’ve loved to get those kinds of buildings and people in it.”\u003c/p>\n\u003cp>F.A.B. even admits that he initially thought the video could’ve worked in black and white. But he’s ultimately glad it’s in color. The energy and liveliness of contemporary Oakland is exactly what he had hoped to convey, without diluting it or hyperbolizing it.\u003c/p>\n\u003cp>“The directors did a hell of a job of capturing the energy,” F.A.B. says. “If you ever wanted to know what Oakland looks like, here it is.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mistah F.A.B. hosts \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cw0sNjAywbV/\">\u003ci>Thug Therapy\u003c/i>\u003c/a>\u003ci>, a mental health check-in for men, on first and third Wednesdays from 6 to 9 p.m. at Oakstop California Ballroom (1736 Franklin St., Oakland). The next event will be held on Wednesday, May 29 and feature Rick ‘Freeway Ricky’ Ross. Free entry, includes complimentary food and beverages.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, when rapper \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\">Mistah F.A.B.\u003c/a> originally released “N.E.W. Oakland,” he was barely old enough to legally drink. Nearly 20 years later — now a veteran, community fixture and business savant — he’s finally decided to drop the video.\u003c/p>\n\u003cp>Mistah F.A.B. is known for pouring his all into The Town. In addition to running \u003ca href=\"https://www.instagram.com/dopeeraco/?hl=en\">Dope Era\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">a clothing shop that also offers a youth arts development component\u003c/a>), he recently began offering \u003ca href=\"https://www.youtube.com/watch?v=pVbQyGJGWgw\">Thug Therapy\u003c/a> (a free, bimonthly support group for men). But “N.E.W. Oakland” shows how F.A.B. was bringing folks together long before that, with a call for pride and unity in the Oakland hip-hop scene.\u003c/p>\n\u003cp>The ode recounts each side of Oakland (the North, East and West) with a triumvirate of game-certified, lyrically diverse representatives: F.A.B., \u003ca href=\"https://www.instagram.com/trugstack/\">G-Stack\u003c/a> and \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a>. As a young, rising freestyle rapper, Mistah F.A.B. — the self-proclaimed “Prince of the O” — first got the idea when he ran into the pair of Oakland legends, whom he grew up idolizing.\u003c/p>\n\u003cp>“I was in the studio and was like, there go G-Stack, that’s a super pioneer for the culture with [his group] The Delinquents, and what they done for Oakland. Then Bavgate walked into the studio after that. He used to be with No Limit [Records], selling millions,” F.A.B. recalls. “I’m like, ‘I’m from the North, he’s from the East, he’s from the West.’ Let’s do a record about the whole Town being together.”\u003c/p>\n\u003cp>“I had a beat from E-A-Ski and I freestyled the hook,” he continues. “Everyone was like ‘Yeah, that’s cold.’ So we wrote our verses. [But] never would I have thought that ‘N.E.W Oakland’ would be a song that stands as a Bay Area anthem.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_E0FIFuJZ64'\n title='//www.youtube.com/embed/_E0FIFuJZ64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike so many rap songs about warring factions, “N.E.W. Oakland” brings each side of Oakland together on equal footing, with shout-outs to each neighborhood’s markers. There may not be another hook with as much centrifugal gravity for all of Oakland as when F.A.B. shouts, “I got the North, got the East, got the West with me.”\u003c/p>\n\u003cp>At the time of the song’s release, F.A.B. says that North Oakland wasn’t receiving its proper respect, often being left out of the larger rap conversation, while East and West Oakland rappers got their shine. In the 2005 Keak Da Sneak track “Town Business,” for example, the raspy-voiced linguist rattles off a litany of Oakland locations — but none from the North side.\u003c/p>\n\u003cp>“That was a big record that summer,” F.A.B. says. “I was like ‘Damn, y’all didn’t say nothing about North Oakland.’ So when I did my verse [on ‘N.E.W. Oakland’], I started it out with the same cadence Keak used but it included areas from North Oakland. It was a friendly response to my big brother about how they forgot about us. It’s not no diss or anything. It’s just letting people know about the North.”\u003c/p>\n\u003cp>On the opening verse of “N.E.W. Oakland,” Fabby bombards listeners with references to “the North Pole” — Gaskill, Bushrod, 62nd, Goldenville. He then reminds the Bay Area that Oakland is bigger than its notorious East and West sides: “My side been forgot about and that’s what I’m hot about.” Then he enlists two lyrical giants from each contingent to tell their sides.\u003c/p>\n\u003cp>The song was instantly a hit on street corners, at house parties, lakeside cookouts, car cruises and more. And its unifying theme is surely part of the reason the new video struck such a deep chord with today’s audience after it premiered on May 10.\u003c/p>\n\u003cfigure id=\"attachment_11754468\" class=\"wp-caption alignnone\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11754468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg\" alt=\"Mistah F.A.B. headlines a show honoring the legacy of Oakland's Mac Dre\" width=\"1071\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-960x565.jpg 960w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. made a name for himself during the hyphy movement with his unapologetic representation of North Oakland. \u003ccite>(Photo: Courtesy of Mistah F.A.B.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot and directed by Thee Shooters, the video is a mix of documentary and artistic angling, spanning each rapper’s turf — beginning in the North, then sliding through the Deep East and circling back to Ghost Town in the West. Despite the shift in eras (and technology), the 20-year-old song seems to have even gained a few octaves of trunk-rattling superpowers with each passing year.\u003c/p>\n\u003cp>Bay Area fans seem to agree that it slaps. The comment section under \u003ca href=\"https://www.instagram.com/p/C6zuz27xWyF/\">the “N.E.W. Oakland” video’s Instagram post\u003c/a> is like a group chat of diehard fans and major Bay Area personalities and institutions, including \u003ca href=\"https://www.kqed.org/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3\">Rexx Life Raj\u003c/a>, DB Tha General, 22nd Jim, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, The Grouch and more.\u003c/p>\n\u003cp>“Who here been waiting 20 years for this video button [100 emoji; fire emoji; clapping emoji],” one fan on \u003ca href=\"https://www.youtube.com/watch?v=_E0FIFuJZ64\">YouTube\u003c/a> wrote. “I’m 33 now, this slap came out when I was a freshman in high school!,” says another. And perhaps the one that hits the bullseye: “Maaannn, very smart release.”\u003c/p>\n\u003cp>If it feels rare for a rapper to reach into the archives and shoot original footage for a track that was released nearly a quarter-century ago, that’s because it is. For better or worse, hip-hop has often been presented as a genre of the moment, and the culture is still figuring out how to age gracefully and honor the past — particularly as some of its mainstay figures pass away, and others radically shift gears to stay relevant.\u003c/p>\n\u003cp>In that context, it’s compelling for three well-established rappers to come back in a way that is fresh, dynamic and genuine — not by trying to create a contemporary hit based on today’s TikTok trends, but to honor their past work together in a sincere way.\u003c/p>\n\u003cp>It begs the question: Why isn’t there more of this? If it’s the right song, and it came out at the right time, but there’s no existing video for it, then why not release a video after the fact?\u003c/p>\n\u003ch2>Capturing Oakland, then and now\u003c/h2>\n\u003cp>Back in the day, music videos were mostly financially out of reach for independent rappers — it could’ve cost $25,000 to $50,000 to film a proper one. Without record label budgets, artists learned how to survive out the trunk rather than aspiring for Hollywood’s recognition. In fact, most of Mistah F.A.B.’s legendary discography — along with many of the alpha rappers of his generation and prior — didn’t have official videos until later in their careers. They made mixtapes, and then there were bootleg mixes of pixelated slideshows created by avid fans on YouTube, long before social media existed.\u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption alignnone\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"1499\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w\" sizes=\"(max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For F.A.B., it only felt right to resuscitate an important moment in Oakland’s rap history by providing a video. The idea first came together organically during F.A.B.’s birthday party earlier this year; G-Stack and Bavgate were in attendance. F.A.B. realized he had a film crew available that could do what he didn’t have the ability to do at 21 years old. So he locked it in.\u003c/p>\n\u003cp>“Documentation supersedes conversation,” says Mistah F.A.B., like a professor about to freestyle an entire dissertation. “When it’s locked in, there’s nothing to talk about. We here. You can see it for yourself. We just captured the moment.”\u003c/p>\n\u003cp>The video serves as a testament to not only what Oakland is right now, but what it felt like back then — if not in the physical form, then at least in the spiritual realm. Due to relentless waves of gentrification that have dismantled so many community hubs, it’s hard to imagine what this video might’ve looked like if it came out in ‘05 instead of ‘24. That’s not lost on the artist.\u003c/p>\n\u003cp>“Some of my friends that were there when we made this [song], they’re no longer living,” says F.A.B. Same for physical landmarks that are no longer here: “When I talk about Goldenville, that was a project building we all grew up in. Know what I’m saying? I would’ve loved to get those kinds of buildings and people in it.”\u003c/p>\n\u003cp>F.A.B. even admits that he initially thought the video could’ve worked in black and white. But he’s ultimately glad it’s in color. The energy and liveliness of contemporary Oakland is exactly what he had hoped to convey, without diluting it or hyperbolizing it.\u003c/p>\n\u003cp>“The directors did a hell of a job of capturing the energy,” F.A.B. says. “If you ever wanted to know what Oakland looks like, here it is.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Mistah F.A.B. hosts \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cw0sNjAywbV/\">\u003ci>Thug Therapy\u003c/i>\u003c/a>\u003ci>, a mental health check-in for men, on first and third Wednesdays from 6 to 9 p.m. at Oakstop California Ballroom (1736 Franklin St., Oakland). The next event will be held on Wednesday, May 29 and feature Rick ‘Freeway Ricky’ Ross. Free entry, includes complimentary food and beverages.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival By the Lake\u003c/a> may be gone, but its spirit continues in the many free mini-festivals held around the shores of Lake Merritt. And an annual favorite, \u003ca href=\"https://urbanpeacemovement.org/event/town-up-tuesday-2024/\">Town Up Tuesday\u003c/a>, has booked its biggest headliner yet for Tuesday, May 21: Too Short. \u003c/p>\n\u003cp>How will a rap legend who routinely plays large arenas adapt to a lakeshore gazebo? It remains to be seen, but it’s completely free, so expect a huge crowd. Also performing are Town favorites \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100Himself\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\">Trunk Boiz\u003c/a> — a formidable lineup in its own right — but Too Short all but guarantees the biggest Town Up Tuesday yet. \u003c/p>\n\u003cp>[aside postID='arts_13927349']Produced by the Oakland nonprofit Urban Peace Movement, Town Up Tuesday was conceived as a way to bring people together after the pandemic while simultaneously engaging young people with civic issues and upcoming elections. \u003c/p>\n\u003cp>“The main message is about getting involved and paying attention to local issues that impact the everyday lives of people in Oakland and the Bay Area,” says Urban Peace Movement’s Nicole Lee. “Obviously we have a consequential election coming up in November, and we want people to be informed, and to pay attention to that election, especially at the local level.”\u003c/p>\n\u003cp>Lee herself grew up going to Festival By the Lake, and says she wants to help reinvigorate pride in Oakland — especially as San Francisco’s so-called doom-loop narrative migrates across the Bay to the Town. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11690787']As it turns out, Too Short agreed to perform in part because he feels the same way.\u003c/p>\n\u003cp>“He’s expressed to some of our team that he’s felt disheartened by the narrative about Oakland,” says Lee, “and how there are negative perceptions about Oakland that sometimes overshadow all the culture, creativity, innovation and social activism that comes from Oakland, and has had national and global impact.”\u003c/p>\n\u003cp>Hosting Tuesday’s event are Mystic and DNas, and the rest of the lineup includes DJs Daghe & Emelle, plus Michael Sneed, 3Nise, the Animaniakz and Ms. Bria. (There’s two “surprise legendary artists” promised too.) There’s also double dutch sessions with Jump Squad 510, wellness services from Freedom Community Clinic, a kids’ area and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday is free, and takes place Tuesday, May 21, at the Edoff Memorial Bandstand on the northwestern shore of Lake Merritt. \u003ca href=\"https://www.facebook.com/urbanpeacemovement/posts/pfbid0WesdcR8QYmzriBXMM3FNZjYRzJzan8fERs7x2vUzJ2mLNWbJFzm1DboC7csW1HCnl\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival By the Lake\u003c/a> may be gone, but its spirit continues in the many free mini-festivals held around the shores of Lake Merritt. And an annual favorite, \u003ca href=\"https://urbanpeacemovement.org/event/town-up-tuesday-2024/\">Town Up Tuesday\u003c/a>, has booked its biggest headliner yet for Tuesday, May 21: Too Short. \u003c/p>\n\u003cp>How will a rap legend who routinely plays large arenas adapt to a lakeshore gazebo? It remains to be seen, but it’s completely free, so expect a huge crowd. Also performing are Town favorites \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100Himself\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\">Trunk Boiz\u003c/a> — a formidable lineup in its own right — but Too Short all but guarantees the biggest Town Up Tuesday yet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Produced by the Oakland nonprofit Urban Peace Movement, Town Up Tuesday was conceived as a way to bring people together after the pandemic while simultaneously engaging young people with civic issues and upcoming elections. \u003c/p>\n\u003cp>“The main message is about getting involved and paying attention to local issues that impact the everyday lives of people in Oakland and the Bay Area,” says Urban Peace Movement’s Nicole Lee. “Obviously we have a consequential election coming up in November, and we want people to be informed, and to pay attention to that election, especially at the local level.”\u003c/p>\n\u003cp>Lee herself grew up going to Festival By the Lake, and says she wants to help reinvigorate pride in Oakland — especially as San Francisco’s so-called doom-loop narrative migrates across the Bay to the Town. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As it turns out, Too Short agreed to perform in part because he feels the same way.\u003c/p>\n\u003cp>“He’s expressed to some of our team that he’s felt disheartened by the narrative about Oakland,” says Lee, “and how there are negative perceptions about Oakland that sometimes overshadow all the culture, creativity, innovation and social activism that comes from Oakland, and has had national and global impact.”\u003c/p>\n\u003cp>Hosting Tuesday’s event are Mystic and DNas, and the rest of the lineup includes DJs Daghe & Emelle, plus Michael Sneed, 3Nise, the Animaniakz and Ms. Bria. (There’s two “surprise legendary artists” promised too.) There’s also double dutch sessions with Jump Squad 510, wellness services from Freedom Community Clinic, a kids’ area and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday is free, and takes place Tuesday, May 21, at the Edoff Memorial Bandstand on the northwestern shore of Lake Merritt. \u003ca href=\"https://www.facebook.com/urbanpeacemovement/posts/pfbid0WesdcR8QYmzriBXMM3FNZjYRzJzan8fERs7x2vUzJ2mLNWbJFzm1DboC7csW1HCnl\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Great Jazz and Classical Shows in the Bay Area This Summer",
"headTitle": "10 Great Jazz and Classical Shows in the Bay Area This Summer | KQED",
"content": "\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco can’t have a \u003cem>complete\u003c/em> lock on Mahler, now, can it? In this cheekily titled program, Symphony San Jose performs Mahler’s First — the “Titan” symphony — a tone poem–esque work that marked the beginning of a legendary run. In another shade of the harmonic spectrum is Mozart’s Piano Concerto No. 21, used to great effect in the film \u003cem>Elvira Madigan\u003c/em>. Rounding out the program is \u003cem>Danzon No. 2\u003c/em>, by the living Mexican composer Arturo Márquez, which captures the lively rhythms and flavors of mariachi.\u003c/p>\n\n",
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"excerpt": "From the community center to the concert hall, this summer brings exciting jazz and classical performances.",
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"description": "From the community center to the concert hall, this summer brings exciting jazz and classical performances.",
"title": "10 Great Jazz and Classical Shows in the Bay Area This Summer | KQED",
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"headline": "10 Great Jazz and Classical Shows in the Bay Area This Summer",
"datePublished": "2024-05-17T08:00:28-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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