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"content": "\u003cp>Organizers of the annual Burning Man music and arts festival lifted a driving ban on Monday afternoon as muddy roads that had stranded thousands of attendees in the Nevada desert had dried up enough to allow people to begin leaving.\u003c/p>\n\u003cp>[aside postid='arts_13933276']“Exodus operations have officially begun in Black Rock City,” \u003ca href=\"https://burningman.org/event/wetplaya2023/\">organizers posted\u003c/a> Monday at 2 p.m. local time, about seven hours before the festival’s fiery conclusion. The torching of a giant, faceless, man-shaped effigy was carried out Monday evening, after having been postponed twice due to the weather.\u003c/p>\n\u003cp>But as of Tuesday morning, the festival was asking participants to consider staying a little longer if they could. Traffic was so congested that at one point, it was taking drivers roughly seven hours to traverse a 5-mile route, pocked with puddles, to the nearest paved road. By midmorning, that time had dropped to 2-3 hours, \u003ca href=\"https://twitter.com/bmantraffic/status/1699080461656699198\">the organizers said on social media. \u003c/a>\u003c/p>\n\u003cp>And that was just the beginning of the journey home for the roughly 72,000 attendees who traveled to the festival’s remote site in northern Nevada, about 120 miles north of the nearest airport in Reno. \u003ca href=\"https://twitter.com/RenoAirport/status/1698911517566210426\">The airport warned on social media\u003c/a> that it did not have the facilities to house travelers for long periods of time while they sorted out plans.\u003c/p>\n\u003cp>https://twitter.com/RenoAirport/status/1698911517566210426\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even during normal years, exodus\u003ca href=\"https://survival.burningman.org/transportation-traffic/exodus/\"> traffic jams can last for six to nine hours\u003c/a>, according to the organizers. Cars, trucks and RVs stuffed with sleeping bags, stoves and tents all cram onto a single two-lane road leading to the nearest major highway.\u003c/p>\n\u003cp>But this year’s participants had been stranded since Sunday, after storms turned the desert playa into a mud bath. Close to an inch of precipitation flooded the area starting on Friday, prompting event organizers to close access to the festival until vehicles could safely pass and to warn campers to conserve food and water.\u003c/p>\n\u003ch3>Wet weather didn’t dampen the Burning Man spirit\u003c/h3>\n\u003cp>Despite reports of stuck vehicles, overflowing port-a-potties, postponed bus pickups and spotty Wi-Fi service, \u003ca href=\"https://www.npr.org/2023/09/02/1197441202/burning-man-festival-rains-floods-stranded-nevada\">several attendees who spoke to NPR\u003c/a> say the wet weather hadn’t dampened moods.\u003c/p>\n\u003cp>“We’re pooling all our food as far as resources. And I would say honestly, walking around the city, spirits are pretty high,” attendee Anya Kamenetz \u003ca href=\"https://www.npr.org/2023/09/03/1197461152/thousands-of-burning-man-attendees-are-stranded-in-the-nevada-desert\">said on Sunday\u003c/a>.\u003c/p>\n\u003cp>The challenging conditions are testing a community of so-called burners, which touts self-reliance and communal effort among its \u003ca href=\"https://burningman.org/about/10-principles/\">core principles\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13885765']Event volunteer Josh Lease said that in true Burning Man spirit, people were sharing warm clothes and phone chargers where they could — and they kept the music blaring.\u003c/p>\n\u003cp>“It’s like any other Burning Man, just muddy,” he told NPR on Saturday evening.\u003c/p>\n\u003cp>“The warnings do sound very dire, and of course, the organization has to tell people to take care,” said \u003ca href=\"https://www.npr.org/people/1196799368/claudia-peschiutta\">Claudia Peschiutta\u003c/a>, an editor with NPR’s \u003cem>Morning Edition\u003c/em> who attended the event, but “I haven’t seen one person who seems worried about it at all.”\u003c/p>\n\u003cp>Some frustration, however, started to seep in for some attendees by Sunday.\u003c/p>\n\u003cp>In rainy Burning Mans past, longtime burner Joe Bamberg said he’s seen couches, carpets and clothes eventually dry out. But this time, he said, “all is damp and will be ruined by mold,” he said.\u003c/p>\n\u003cp>“I am not thrilled,” said Bamberg, who added: “People make do, it is part of the adventure.”\u003c/p>\n\u003cp>Meanwhile, authorities in Nevada were investigating a death at the site. The Pershing County sheriff said on Saturday that a person was found dead on the playa but declined to offer any further details \u003ca href=\"https://www.cnn.com/videos/us/2023/09/03/burning-man-stranded-update-county-official-cnntm-vpx.cnn\">in an interview with CNN\u003c/a> on Monday.\u003c/p>\n\u003cfigure id=\"attachment_13934282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burning Man attendees walk through a muddy desert plain on Saturday, after heavy rains pelted the annual Nevada festival. \u003ccite>(Julie Jammot/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some burners made the trek out on foot\u003c/h3>\n\u003cp>The \u003ca href=\"https://burningman.org/\">Burning Man Organization\u003c/a> had begun telling attendees to shelter in place on Saturday, when it announced that access into and out of the site was closed for the remainder of the event, which runs from Aug. 27 through Sep. 4. Only emergency vehicles were allowed to pass, the organization said in a \u003ca href=\"https://docs.google.com/spreadsheets/d/1AfpmyriBHIFQ_Jymw3wHn9dtAGTgLcAjbnogNPsLvEA/htmlview#gid=0\">statement\u003c/a>.\u003c/p>\n\u003cp>“Conserve food, water, and fuel, and shelter in a warm, safe space,” the statement urged those stuck in the desert.\u003c/p>\n\u003cp>Although they urged attendees against driving on Sunday, event officials said that some vehicles designed for off-road terrain had been able to navigate the mud and successfully leave the event.\u003c/p>\n\u003cp>Other attendees chose to walk several miles across the muck to exit the grounds.\u003c/p>\n\u003cp>Music producer Diplo said he and comedian Chris Rock escaped the event on Saturday after walking 6 miles before hitching a ride from a fan in a pickup truck.\u003c/p>\n\u003cp>“I legit walked the side of the road for hours with my thumb out cuz I have a show in dc tonight and didnt want to let yall down,” \u003ca href=\"https://www.instagram.com/reel/CwtMcuQuuDY/?utm_source=ig_web_copy_link\">he wrote in an Instagram post\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CwtMcuQuuDY/\u003c/p>\n\u003cp>Neal Katyal, former acting Obama-era solicitor general, also made the trek out. He \u003ca href=\"https://twitter.com/neal_katyal/status/1698302619083509871?s=20\">said he was safe\u003c/a> after his first trip to the festival ended with “an incredibly harrowing 6-mile hike at midnight through heavy and slippery mud.”\u003c/p>\n\u003cp>President Biden had been briefed on the situation, according to a White House official. Event attendees were told over the weekend to listen to state and local officials, and event organizers, the administration official said.\u003c/p>\n\u003cp>[aside postid='arts_13839695']“We have come here knowing this is a place where we bring everything we need to survive,” the organization said in a statement Saturday night. “It is because of this that we are all well-prepared for a weather event like this.”\u003c/p>\n\u003cp>“We have done table-top drills for events like this. We are engaged full-time on all aspects of safety and looking ahead to our Exodus as our next priority.”\u003c/p>\n\u003cp>More than 70,000 people visit the makeshift town of Black Rock City every year to dance, make art and join a self-sufficient, counter-cultural community.\u003c/p>\n\u003cp>The weeklong festival began in 1986 as a small gathering in San Francisco. Today, celebrities, tech moguls and social media influencers are common attendees. \u003ca href=\"https://tickets.burningman.org/?_gl=1%2Anja9og%2A_ga%2AMTk2NDMwOTYxMS4xNjkzOTEwMDA3%2A_ga_411YJ8ZFDE%2AMTY5MzkxNzEzNy4yLjEuMTY5MzkxOTEzNy4wLjAuMA..\">This year’s ticket prices\u003c/a> started at $575.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The weekend’s events weren’t the first time the entrance had been blocked at this year’s festival. A group of climate protesters caused \u003ca href=\"https://www.theguardian.com/culture/2023/aug/28/burning-man-protest-climate-change-environment\">miles of gridlock\u003c/a> at the start of the event by parking a 28-foot trailer in the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burning+Man+festival+attendees%2C+finally+free+to+leave%2C+face+hours+of+traffic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Organizers of the annual Burning Man music and arts festival lifted a driving ban on Monday afternoon as muddy roads that had stranded thousands of attendees in the Nevada desert had dried up enough to allow people to begin leaving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Exodus operations have officially begun in Black Rock City,” \u003ca href=\"https://burningman.org/event/wetplaya2023/\">organizers posted\u003c/a> Monday at 2 p.m. local time, about seven hours before the festival’s fiery conclusion. The torching of a giant, faceless, man-shaped effigy was carried out Monday evening, after having been postponed twice due to the weather.\u003c/p>\n\u003cp>But as of Tuesday morning, the festival was asking participants to consider staying a little longer if they could. Traffic was so congested that at one point, it was taking drivers roughly seven hours to traverse a 5-mile route, pocked with puddles, to the nearest paved road. By midmorning, that time had dropped to 2-3 hours, \u003ca href=\"https://twitter.com/bmantraffic/status/1699080461656699198\">the organizers said on social media. \u003c/a>\u003c/p>\n\u003cp>And that was just the beginning of the journey home for the roughly 72,000 attendees who traveled to the festival’s remote site in northern Nevada, about 120 miles north of the nearest airport in Reno. \u003ca href=\"https://twitter.com/RenoAirport/status/1698911517566210426\">The airport warned on social media\u003c/a> that it did not have the facilities to house travelers for long periods of time while they sorted out plans.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even during normal years, exodus\u003ca href=\"https://survival.burningman.org/transportation-traffic/exodus/\"> traffic jams can last for six to nine hours\u003c/a>, according to the organizers. Cars, trucks and RVs stuffed with sleeping bags, stoves and tents all cram onto a single two-lane road leading to the nearest major highway.\u003c/p>\n\u003cp>But this year’s participants had been stranded since Sunday, after storms turned the desert playa into a mud bath. Close to an inch of precipitation flooded the area starting on Friday, prompting event organizers to close access to the festival until vehicles could safely pass and to warn campers to conserve food and water.\u003c/p>\n\u003ch3>Wet weather didn’t dampen the Burning Man spirit\u003c/h3>\n\u003cp>Despite reports of stuck vehicles, overflowing port-a-potties, postponed bus pickups and spotty Wi-Fi service, \u003ca href=\"https://www.npr.org/2023/09/02/1197441202/burning-man-festival-rains-floods-stranded-nevada\">several attendees who spoke to NPR\u003c/a> say the wet weather hadn’t dampened moods.\u003c/p>\n\u003cp>“We’re pooling all our food as far as resources. And I would say honestly, walking around the city, spirits are pretty high,” attendee Anya Kamenetz \u003ca href=\"https://www.npr.org/2023/09/03/1197461152/thousands-of-burning-man-attendees-are-stranded-in-the-nevada-desert\">said on Sunday\u003c/a>.\u003c/p>\n\u003cp>The challenging conditions are testing a community of so-called burners, which touts self-reliance and communal effort among its \u003ca href=\"https://burningman.org/about/10-principles/\">core principles\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Event volunteer Josh Lease said that in true Burning Man spirit, people were sharing warm clothes and phone chargers where they could — and they kept the music blaring.\u003c/p>\n\u003cp>“It’s like any other Burning Man, just muddy,” he told NPR on Saturday evening.\u003c/p>\n\u003cp>“The warnings do sound very dire, and of course, the organization has to tell people to take care,” said \u003ca href=\"https://www.npr.org/people/1196799368/claudia-peschiutta\">Claudia Peschiutta\u003c/a>, an editor with NPR’s \u003cem>Morning Edition\u003c/em> who attended the event, but “I haven’t seen one person who seems worried about it at all.”\u003c/p>\n\u003cp>Some frustration, however, started to seep in for some attendees by Sunday.\u003c/p>\n\u003cp>In rainy Burning Mans past, longtime burner Joe Bamberg said he’s seen couches, carpets and clothes eventually dry out. But this time, he said, “all is damp and will be ruined by mold,” he said.\u003c/p>\n\u003cp>“I am not thrilled,” said Bamberg, who added: “People make do, it is part of the adventure.”\u003c/p>\n\u003cp>Meanwhile, authorities in Nevada were investigating a death at the site. The Pershing County sheriff said on Saturday that a person was found dead on the playa but declined to offer any further details \u003ca href=\"https://www.cnn.com/videos/us/2023/09/03/burning-man-stranded-update-county-official-cnntm-vpx.cnn\">in an interview with CNN\u003c/a> on Monday.\u003c/p>\n\u003cfigure id=\"attachment_13934282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burning Man attendees walk through a muddy desert plain on Saturday, after heavy rains pelted the annual Nevada festival. \u003ccite>(Julie Jammot/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some burners made the trek out on foot\u003c/h3>\n\u003cp>The \u003ca href=\"https://burningman.org/\">Burning Man Organization\u003c/a> had begun telling attendees to shelter in place on Saturday, when it announced that access into and out of the site was closed for the remainder of the event, which runs from Aug. 27 through Sep. 4. Only emergency vehicles were allowed to pass, the organization said in a \u003ca href=\"https://docs.google.com/spreadsheets/d/1AfpmyriBHIFQ_Jymw3wHn9dtAGTgLcAjbnogNPsLvEA/htmlview#gid=0\">statement\u003c/a>.\u003c/p>\n\u003cp>“Conserve food, water, and fuel, and shelter in a warm, safe space,” the statement urged those stuck in the desert.\u003c/p>\n\u003cp>Although they urged attendees against driving on Sunday, event officials said that some vehicles designed for off-road terrain had been able to navigate the mud and successfully leave the event.\u003c/p>\n\u003cp>Other attendees chose to walk several miles across the muck to exit the grounds.\u003c/p>\n\u003cp>Music producer Diplo said he and comedian Chris Rock escaped the event on Saturday after walking 6 miles before hitching a ride from a fan in a pickup truck.\u003c/p>\n\u003cp>“I legit walked the side of the road for hours with my thumb out cuz I have a show in dc tonight and didnt want to let yall down,” \u003ca href=\"https://www.instagram.com/reel/CwtMcuQuuDY/?utm_source=ig_web_copy_link\">he wrote in an Instagram post\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neal Katyal, former acting Obama-era solicitor general, also made the trek out. He \u003ca href=\"https://twitter.com/neal_katyal/status/1698302619083509871?s=20\">said he was safe\u003c/a> after his first trip to the festival ended with “an incredibly harrowing 6-mile hike at midnight through heavy and slippery mud.”\u003c/p>\n\u003cp>President Biden had been briefed on the situation, according to a White House official. Event attendees were told over the weekend to listen to state and local officials, and event organizers, the administration official said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We have come here knowing this is a place where we bring everything we need to survive,” the organization said in a statement Saturday night. “It is because of this that we are all well-prepared for a weather event like this.”\u003c/p>\n\u003cp>“We have done table-top drills for events like this. We are engaged full-time on all aspects of safety and looking ahead to our Exodus as our next priority.”\u003c/p>\n\u003cp>More than 70,000 people visit the makeshift town of Black Rock City every year to dance, make art and join a self-sufficient, counter-cultural community.\u003c/p>\n\u003cp>The weeklong festival began in 1986 as a small gathering in San Francisco. Today, celebrities, tech moguls and social media influencers are common attendees. \u003ca href=\"https://tickets.burningman.org/?_gl=1%2Anja9og%2A_ga%2AMTk2NDMwOTYxMS4xNjkzOTEwMDA3%2A_ga_411YJ8ZFDE%2AMTY5MzkxNzEzNy4yLjEuMTY5MzkxOTEzNy4wLjAuMA..\">This year’s ticket prices\u003c/a> started at $575.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The weekend’s events weren’t the first time the entrance had been blocked at this year’s festival. A group of climate protesters caused \u003ca href=\"https://www.theguardian.com/culture/2023/aug/28/burning-man-protest-climate-change-environment\">miles of gridlock\u003c/a> at the start of the event by parking a 28-foot trailer in the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burning+Man+festival+attendees%2C+finally+free+to+leave%2C+face+hours+of+traffic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Smash Mouth Frontman Steve Harwell Dies at 56",
"headTitle": "Smash Mouth Frontman Steve Harwell Dies at 56 | KQED",
"content": "\u003cp>Steve Harwell, the longtime frontman of the San Jose-based, Grammy-nominated pop rock band Smash Mouth has died. He was 56.\u003c/p>\n\u003cp>The band’s manager, Robert Hayes, said Harwell “passed peacefully and comfortably” Monday morning surrounded by family and friends at his home in Boise, Idaho. The cause of death was acute liver failure, Hayes said in a statement.\u003c/p>\n\u003cp>Smash Mouth was known for hits including the \u003cem>Shrek\u003c/em>-featured “All Star” and “Walkin’ on the Sun.” \u003c/p>\n\u003cp>“Steve Harwell was a true American Original. A larger-than-life character who shot up into the sky like a Roman candle,” Hayes said. “Steve should be remembered for his unwavering focus and impassioned determination to reach the heights of pop stardom.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L_jWHffIx5E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in California in 1967, Harwell performed in a rap group called F.O.S. (Freedom of Speech) before forming Smash Mouth in 1994. Early support of the band came from Bay Area radio station KOME, who began playing the song “Nervous in the Alley,” helping Smash Mouth gain attention.\u003c/p>\n\u003cp>The band released two platinum albums on Interscope Records, the ska-fueled 1997’s \u003cem>Fush Yu Mang\u003c/em> and 1999’s \u003cem>Astro Lounge\u003c/em>. The second album featured some of the band’s biggest hits, including the Grammy-nominated, platinum single “All Star,” which appeared in the movie \u003cem>Shrek\u003c/em> alongside their cover of the Monkees’ “I’m a Believer.”\u003c/p>\n\u003cp>Humor was a driving force behind Smash Mouth’s success, and at the forefront was Harwell’s playful alt-rock voice and persona. He made a cameo in 2001 comedy film “Rat Race,” and had a well-documented friendship with the Food Network chef and host Guy Fieri, once \u003ca href=\"https://www.youtube.com/watch?v=clyEcrwuXfk\">collaborating together on an egg-eating challenge for charity\u003c/a> in Dublin, California.\u003c/p>\n\u003cp>“His only tools were his irrepressible charm and charisma, his fearlessly reckless ambition, and his king-size cajones,” Hayes said. “Steve lived a 100% full-throttle life. Burning brightly across the universe before burning out.”\u003c/p>\n\u003cp>https://youtu.be/0mYBSayCsH0?si=JSFVRhRcTSMlLNEi\u003c/p>\n\u003cp>Harwell’s stage antics were unpredictable and well documented. In a 2014 appearance in Napa at the BottleRock music festival, he spent much of the set delivering obscenity-laden insults to fellow 1990s band Third Eye Blind.\u003c/p>\n\u003cp>Nothing, however, could stop the momentum of Smash Mouth’s biggest hit. While the \u003cem>Shrek\u003c/em> generation transitioned into adulthood, “All Star” would go on to become a widespread meme, being \u003ca href=\"https://www.youtube.com/watch?v=eT3BFzSD6YY\">remixed\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=rLz1gBKk-t8\">mangled\u003c/a> by clever internet users. \u003c/p>\n\u003cp>Harwell left Smash Mouth in 2021 and the band continued to tour with Zach Goode as the singer. The band released a statement at the time saying Harwell had been diagnosed with cardiomyopathy eight years earlier, and had suffered “nonstop serious medical setbacks including heart failure as well as acute Wernicke Encephalopathy.”\u003c/p>\n\u003cp>Hayes had released a statement on Sunday saying Harwell was in hospice care.\u003c/p>\n\u003cp>Harwell will be cremated in Boise and buried in San Jose, California, alongside his mother, Hayes said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline contributed reporting.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Harwell, the longtime frontman of the San Jose-based, Grammy-nominated pop rock band Smash Mouth has died. He was 56.\u003c/p>\n\u003cp>The band’s manager, Robert Hayes, said Harwell “passed peacefully and comfortably” Monday morning surrounded by family and friends at his home in Boise, Idaho. The cause of death was acute liver failure, Hayes said in a statement.\u003c/p>\n\u003cp>Smash Mouth was known for hits including the \u003cem>Shrek\u003c/em>-featured “All Star” and “Walkin’ on the Sun.” \u003c/p>\n\u003cp>“Steve Harwell was a true American Original. A larger-than-life character who shot up into the sky like a Roman candle,” Hayes said. “Steve should be remembered for his unwavering focus and impassioned determination to reach the heights of pop stardom.”\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/L_jWHffIx5E'\n title='//www.youtube.com/embed/L_jWHffIx5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in California in 1967, Harwell performed in a rap group called F.O.S. (Freedom of Speech) before forming Smash Mouth in 1994. Early support of the band came from Bay Area radio station KOME, who began playing the song “Nervous in the Alley,” helping Smash Mouth gain attention.\u003c/p>\n\u003cp>The band released two platinum albums on Interscope Records, the ska-fueled 1997’s \u003cem>Fush Yu Mang\u003c/em> and 1999’s \u003cem>Astro Lounge\u003c/em>. The second album featured some of the band’s biggest hits, including the Grammy-nominated, platinum single “All Star,” which appeared in the movie \u003cem>Shrek\u003c/em> alongside their cover of the Monkees’ “I’m a Believer.”\u003c/p>\n\u003cp>Humor was a driving force behind Smash Mouth’s success, and at the forefront was Harwell’s playful alt-rock voice and persona. He made a cameo in 2001 comedy film “Rat Race,” and had a well-documented friendship with the Food Network chef and host Guy Fieri, once \u003ca href=\"https://www.youtube.com/watch?v=clyEcrwuXfk\">collaborating together on an egg-eating challenge for charity\u003c/a> in Dublin, California.\u003c/p>\n\u003cp>“His only tools were his irrepressible charm and charisma, his fearlessly reckless ambition, and his king-size cajones,” Hayes said. “Steve lived a 100% full-throttle life. Burning brightly across the universe before burning out.”\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/0mYBSayCsH0'\n title='//www.youtube.com/embed/0mYBSayCsH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harwell’s stage antics were unpredictable and well documented. In a 2014 appearance in Napa at the BottleRock music festival, he spent much of the set delivering obscenity-laden insults to fellow 1990s band Third Eye Blind.\u003c/p>\n\u003cp>Nothing, however, could stop the momentum of Smash Mouth’s biggest hit. While the \u003cem>Shrek\u003c/em> generation transitioned into adulthood, “All Star” would go on to become a widespread meme, being \u003ca href=\"https://www.youtube.com/watch?v=eT3BFzSD6YY\">remixed\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=rLz1gBKk-t8\">mangled\u003c/a> by clever internet users. \u003c/p>\n\u003cp>Harwell left Smash Mouth in 2021 and the band continued to tour with Zach Goode as the singer. The band released a statement at the time saying Harwell had been diagnosed with cardiomyopathy eight years earlier, and had suffered “nonstop serious medical setbacks including heart failure as well as acute Wernicke Encephalopathy.”\u003c/p>\n\u003cp>Hayes had released a statement on Sunday saying Harwell was in hospice care.\u003c/p>\n\u003cp>Harwell will be cremated in Boise and buried in San Jose, California, alongside his mother, Hayes said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline contributed reporting.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyonce-renaissance-levis-stadium-photos-fashion",
"title": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion",
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"headTitle": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion | KQED",
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"content": "\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>[aside postID='arts_13934154']Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"title": "Beyoncé’s Fans at Levi’s Stadium Wear Their Best Silver Fashion | KQED",
"description": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Visual Artists Fight Back Against AI Companies for Repurposing Their Work",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/kelly_mckernan/?hl=en\">Kelly McKernan’s acrylic and watercolor paintings\u003c/a> are bold and vibrant, often featuring feminine figures rendered in bright greens, blues, pinks and purples. The style, in the artist’s words, is “surreal, ethereal … dealing with discomfort in the human journey.”\u003c/p>\n\u003cp>The word “human” has a special resonance for McKernan these days. Although it’s always been a challenge to eke out a living as a visual artist — and the pandemic made it worse — McKernan now sees an existential threat from a medium that’s decidedly not human: artificial intelligence.\u003c/p>\n\u003cp>It’s been about a year since McKernan, who uses the pronoun they, began noticing online images eerily similar to their own distinctive style that were apparently generated by entering their name into an AI engine.\u003c/p>\n\u003cp>https://www.instagram.com/p/CrRYTABOEPB/?img_index=1\u003c/p>\n\u003cp>The Nashville-based McKernan, 37, who creates both fine art and digital illustrations, soon learned that companies were feeding artwork into AI systems used to “train” image-generators — something that once sounded like a weird sci-fi movie but now threatens the livelihood of artists worldwide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People were tagging me on Twitter, and I would respond, ’Hey, this makes me uncomfortable. I didn’t give my consent for my name or work to be used this way,’” the artist said in a recent interview, their bright blue-green hair mirroring their artwork. “I even reached out to some of these companies to say ‘Hey, little artist here, I know you’re not thinking of me at all, but it would be really cool if you didn’t use my work like this.’ And, crickets, absolutely nothing.”\u003c/p>\n\u003cp>McKernan is now one of three artists who are seeking to protect their copyrights and careers by suing makers of AI tools that can generate new imagery on command.\u003c/p>\n\u003cp>[aside postid='arts_13928253']The case awaits a decision from a San Francisco federal judge, who has voiced some doubt about whether AI companies are infringing on copyrights when they analyze billions of images and spit out something different.\u003c/p>\n\u003cp>“We’re David against Goliath here,” McKernan says. “At the end of the day, someone’s profiting from my work. I had rent due yesterday, and I’m $200 short. That’s how desperate things are right now. And it just doesn’t feel right.”\u003c/p>\n\u003cp>The lawsuit may serve as an early bellwether of how hard it will be for all kinds of creators — Hollywood actors, novelists, musicians and computer programmers — to stop AI developers from profiting off what humans have made.\u003c/p>\n\u003cp>The case was filed in January by McKernan and fellow artists \u003ca href=\"https://www.instagram.com/kortizart/?hl=en\">Karla Ortiz\u003c/a> and \u003ca href=\"https://www.instagram.com/sarahandersencomics/?hl=en\">Sarah Andersen\u003c/a>, on behalf of others like them, against Stability AI, the London-based maker of text-to-image generator Stable Diffusion. The complaint also named another popular image-generator, Midjourney, and the online gallery DeviantArt.\u003c/p>\n\u003cfigure id=\"attachment_13934124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-800x533.jpg\" alt=\"A woman with pale skin and long black hair sits with her chin resting on her hands, a very serious expression on her face.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karla Ortiz the day she testified before the Senate Judiciary Committee’s Intellectual Property Subcommittee about artificial intelligence and copyright. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The suit alleges that the AI image-generators violate the rights of millions of artists by ingesting huge troves of digital images and then producing derivative works that compete against the originals.\u003c/p>\n\u003cp>The artists say they are not inherently opposed to AI, but they don’t want to be exploited by it. They are seeking class-action damages and a court order to stop companies from exploiting artistic works without consent.\u003c/p>\n\u003cp>Stability AI declined to comment. In a court filing, the company said it creates “entirely new and unique images” using simple word prompts, and that its images don’t or rarely resemble the images in the training data.\u003c/p>\n\u003cp>“Stability AI enables creation; it is not a copyright infringer,” it said.\u003c/p>\n\u003cp>Midjourney and DeviantArt didn’t return emailed requests for comment.\u003c/p>\n\u003cp>Much of the sudden proliferation of image-generators can be traced to a single, enormous research database, known as the Large-scale Artificial Intelligence Open Network, or LAION, run by a schoolteacher in Hamburg, Germany.\u003c/p>\n\u003cp>[aside postid='arts_13932477']The teacher, Christoph Schuhmann, said he has no regrets about the nonprofit project, which is not a defendant in the lawsuit and has largely escaped copyright challenges by creating an index of links to publicly accessible images without storing them. But the educator said he understands why artists are concerned.\u003c/p>\n\u003cp>“In a few years, everyone can generate anything — video, images, text. Anything that you can describe, you can generate it in such a way that no human can tell the difference between AI-generated content and professional human-generated content,” Schuhmann said in an interview.\u003c/p>\n\u003cp>The idea that such a development is inevitable — that it is, essentially, the future — was at the heart of a U.S. Senate hearing in July in which Ben Brooks, head of public policy for Stability AI, acknowledged that artists are not paid for their images.\u003c/p>\n\u003cp>“There is no arrangement in place,” Brooks said, at which point Hawaii Democratic Sen. Mazie Hirono asked Ortiz whether she had ever been compensated by AI makers.\u003c/p>\n\u003cp>“I have never been asked. I have never been credited. I have never been compensated one penny, and that’s for the use of almost the entirety of my work, both personal and commercial, senator,” she replied.\u003c/p>\n\u003cp>You could hear the fury in the voice of Ortiz, also 37, of San Francisco, a concept artist and illustrator in the entertainment industry. Her work has been used in movies including \u003cem>Guardians of the Galaxy Vol. 3\u003c/em>, \u003cem>Loki\u003c/em>, \u003cem>Rogue One: A Star Wars Story\u003c/em>, \u003cem>Jurassic World\u003c/em> and \u003cem>Doctor Strange\u003c/em>. In the latter, she was responsible for the design of Doctor Strange’s costume.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cm1k6HgudKO/?img_index=1\u003c/p>\n\u003cp>“We’re kind of the blue-collar workers within the art world,” Ortiz said in an interview. “We provide visuals for movies or games. We’re the first people to take a stab at, what does a visual look like? And that provides a blueprint for the rest of the production.”\u003c/p>\n\u003cp>But it’s easy to see how AI-generated images can compete, Ortiz says. And it’s not merely a hypothetical possibility. She said she has personally been part of several productions that have used AI imagery.\u003c/p>\n\u003cp>[aside postid='arts_13933215']“It’s overnight an almost billion-dollar industry. They just took our work, and suddenly we’re seeing our names being used thousands of times, even hundreds of thousands of times.”\u003c/p>\n\u003cp>In at least a temporary win for human artists, another federal judge in August upheld a decision by the U.S. Copyright Office to deny someone’s attempt to copyright an AI-generated artwork.\u003c/p>\n\u003cp>But Ortiz fears that artists will soon be deemed too expensive. Why, she asks, would employers pay artists’ salaries if they can buy “a subscription for a month for $30″ and generate anything?\u003c/p>\n\u003cp>And if the technology is this good now, she adds, what will it be like in a few years?\u003c/p>\n\u003cp>“My fear is that our industry will be diminished to such a point that very few of us can make a living,” Ortiz says, anticipating that artists will be tasked with simply editing AI-generated images, rather than creating. “The fun parts of my job, the things that make artists live and breathe — all of that is outsourced to a machine.”\u003c/p>\n\u003cp>McKernan, too, fears what is yet to come: “Will I even have work a year from now?”\u003c/p>\n\u003cp>For now, both artists are throwing themselves into the legal fight — a fight that centers on preserving what makes people human, says McKernan, whose Instagram profile reads: “Advocating for human artists.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I mean, that’s what makes me want to be alive,” says the artist, referring to the process of artistic creation. The battle is worth fighting “because that’s what being human is to me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/kelly_mckernan/?hl=en\">Kelly McKernan’s acrylic and watercolor paintings\u003c/a> are bold and vibrant, often featuring feminine figures rendered in bright greens, blues, pinks and purples. The style, in the artist’s words, is “surreal, ethereal … dealing with discomfort in the human journey.”\u003c/p>\n\u003cp>The word “human” has a special resonance for McKernan these days. Although it’s always been a challenge to eke out a living as a visual artist — and the pandemic made it worse — McKernan now sees an existential threat from a medium that’s decidedly not human: artificial intelligence.\u003c/p>\n\u003cp>It’s been about a year since McKernan, who uses the pronoun they, began noticing online images eerily similar to their own distinctive style that were apparently generated by entering their name into an AI engine.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Nashville-based McKernan, 37, who creates both fine art and digital illustrations, soon learned that companies were feeding artwork into AI systems used to “train” image-generators — something that once sounded like a weird sci-fi movie but now threatens the livelihood of artists worldwide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People were tagging me on Twitter, and I would respond, ’Hey, this makes me uncomfortable. I didn’t give my consent for my name or work to be used this way,’” the artist said in a recent interview, their bright blue-green hair mirroring their artwork. “I even reached out to some of these companies to say ‘Hey, little artist here, I know you’re not thinking of me at all, but it would be really cool if you didn’t use my work like this.’ And, crickets, absolutely nothing.”\u003c/p>\n\u003cp>McKernan is now one of three artists who are seeking to protect their copyrights and careers by suing makers of AI tools that can generate new imagery on command.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The case awaits a decision from a San Francisco federal judge, who has voiced some doubt about whether AI companies are infringing on copyrights when they analyze billions of images and spit out something different.\u003c/p>\n\u003cp>“We’re David against Goliath here,” McKernan says. “At the end of the day, someone’s profiting from my work. I had rent due yesterday, and I’m $200 short. That’s how desperate things are right now. And it just doesn’t feel right.”\u003c/p>\n\u003cp>The lawsuit may serve as an early bellwether of how hard it will be for all kinds of creators — Hollywood actors, novelists, musicians and computer programmers — to stop AI developers from profiting off what humans have made.\u003c/p>\n\u003cp>The case was filed in January by McKernan and fellow artists \u003ca href=\"https://www.instagram.com/kortizart/?hl=en\">Karla Ortiz\u003c/a> and \u003ca href=\"https://www.instagram.com/sarahandersencomics/?hl=en\">Sarah Andersen\u003c/a>, on behalf of others like them, against Stability AI, the London-based maker of text-to-image generator Stable Diffusion. The complaint also named another popular image-generator, Midjourney, and the online gallery DeviantArt.\u003c/p>\n\u003cfigure id=\"attachment_13934124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-800x533.jpg\" alt=\"A woman with pale skin and long black hair sits with her chin resting on her hands, a very serious expression on her face.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1537973074-scaled-e1693506529883.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karla Ortiz the day she testified before the Senate Judiciary Committee’s Intellectual Property Subcommittee about artificial intelligence and copyright. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The suit alleges that the AI image-generators violate the rights of millions of artists by ingesting huge troves of digital images and then producing derivative works that compete against the originals.\u003c/p>\n\u003cp>The artists say they are not inherently opposed to AI, but they don’t want to be exploited by it. They are seeking class-action damages and a court order to stop companies from exploiting artistic works without consent.\u003c/p>\n\u003cp>Stability AI declined to comment. In a court filing, the company said it creates “entirely new and unique images” using simple word prompts, and that its images don’t or rarely resemble the images in the training data.\u003c/p>\n\u003cp>“Stability AI enables creation; it is not a copyright infringer,” it said.\u003c/p>\n\u003cp>Midjourney and DeviantArt didn’t return emailed requests for comment.\u003c/p>\n\u003cp>Much of the sudden proliferation of image-generators can be traced to a single, enormous research database, known as the Large-scale Artificial Intelligence Open Network, or LAION, run by a schoolteacher in Hamburg, Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The teacher, Christoph Schuhmann, said he has no regrets about the nonprofit project, which is not a defendant in the lawsuit and has largely escaped copyright challenges by creating an index of links to publicly accessible images without storing them. But the educator said he understands why artists are concerned.\u003c/p>\n\u003cp>“In a few years, everyone can generate anything — video, images, text. Anything that you can describe, you can generate it in such a way that no human can tell the difference between AI-generated content and professional human-generated content,” Schuhmann said in an interview.\u003c/p>\n\u003cp>The idea that such a development is inevitable — that it is, essentially, the future — was at the heart of a U.S. Senate hearing in July in which Ben Brooks, head of public policy for Stability AI, acknowledged that artists are not paid for their images.\u003c/p>\n\u003cp>“There is no arrangement in place,” Brooks said, at which point Hawaii Democratic Sen. Mazie Hirono asked Ortiz whether she had ever been compensated by AI makers.\u003c/p>\n\u003cp>“I have never been asked. I have never been credited. I have never been compensated one penny, and that’s for the use of almost the entirety of my work, both personal and commercial, senator,” she replied.\u003c/p>\n\u003cp>You could hear the fury in the voice of Ortiz, also 37, of San Francisco, a concept artist and illustrator in the entertainment industry. Her work has been used in movies including \u003cem>Guardians of the Galaxy Vol. 3\u003c/em>, \u003cem>Loki\u003c/em>, \u003cem>Rogue One: A Star Wars Story\u003c/em>, \u003cem>Jurassic World\u003c/em> and \u003cem>Doctor Strange\u003c/em>. In the latter, she was responsible for the design of Doctor Strange’s costume.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We’re kind of the blue-collar workers within the art world,” Ortiz said in an interview. “We provide visuals for movies or games. We’re the first people to take a stab at, what does a visual look like? And that provides a blueprint for the rest of the production.”\u003c/p>\n\u003cp>But it’s easy to see how AI-generated images can compete, Ortiz says. And it’s not merely a hypothetical possibility. She said she has personally been part of several productions that have used AI imagery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s overnight an almost billion-dollar industry. They just took our work, and suddenly we’re seeing our names being used thousands of times, even hundreds of thousands of times.”\u003c/p>\n\u003cp>In at least a temporary win for human artists, another federal judge in August upheld a decision by the U.S. Copyright Office to deny someone’s attempt to copyright an AI-generated artwork.\u003c/p>\n\u003cp>But Ortiz fears that artists will soon be deemed too expensive. Why, she asks, would employers pay artists’ salaries if they can buy “a subscription for a month for $30″ and generate anything?\u003c/p>\n\u003cp>And if the technology is this good now, she adds, what will it be like in a few years?\u003c/p>\n\u003cp>“My fear is that our industry will be diminished to such a point that very few of us can make a living,” Ortiz says, anticipating that artists will be tasked with simply editing AI-generated images, rather than creating. “The fun parts of my job, the things that make artists live and breathe — all of that is outsourced to a machine.”\u003c/p>\n\u003cp>McKernan, too, fears what is yet to come: “Will I even have work a year from now?”\u003c/p>\n\u003cp>For now, both artists are throwing themselves into the legal fight — a fight that centers on preserving what makes people human, says McKernan, whose Instagram profile reads: “Advocating for human artists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I mean, that’s what makes me want to be alive,” says the artist, referring to the process of artistic creation. The battle is worth fighting “because that’s what being human is to me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Ancestral Celebration in Japantown — With a Twist",
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"content": "\u003cp>As a child, Laura Miyano celebrated Obon with her family in Sacramento County by wearing a pink kimono with red and black stripes, passed down by her mother. There were prayers, traditional songs, rehearsed dances and great uncles who drank whiskey and smoked cigars. \u003c/p>\n\u003cp>On Saturday, Miyano’s 12-year-old daughter Maile wore the same kimono, albeit at a slightly different Obon celebration in San Francisco’s Japantown known as BonPOP, which Miyano helped organize. \u003c/p>\n\u003cfigure id=\"attachment_13933957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED.jpg\" alt=\"Buddhist Church members Chiemi Silver and her mom Nanayo Silver help 11-year-old Maile Bellet dress in her grandmother’s kimono before KOHO’s BonPop Obon Festival in the Japantown East Mall in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church members Chiemi Silver and her mom Nanayo Silver help 11-year-old Maile Bellet dress in her grandmother’s kimono before KOHO’s BonPop Obon Festival in the Japantown East Mall in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our Obon reminds me of the one from when I was a kid, but, you know, it’s a bunch of aunties,” Miyano laughed. “We were like, ‘Let’s get everyone involved and make it fun!’”\u003c/p>\n\u003cp>Under Japantown’s Peace Pagoda and a setting sun, Miyano, her family and a large crowd of community members honored the ancestors with dancing and singing, but also pop songs and a fashion contest that “remixed” traditional Japanese yukata with contemporary pieces like sneakers.\u003c/p>\n\u003cp>“We want young people to learn traditional dances and the meaning of Obon, but to put their own spin on it,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13933964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED.jpg\" alt=\"KOHO founder Susie Kagami speaks on stage during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KOHO founder Susie Kagami speaks on stage during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the stewardship of Susie Kagami, the Executive Director of KOHO SF, BonPOP aims to put a modern twist on the over 500-year-old Japanese holiday, when people all over Japan return to their familial villages to honor their ancestors. The hope is to reconnect young people with their culture by welcoming creative expression into an age-old tradition, says Kagami, who wore a floral yukata gathered above her knees — leather cowboy boots on full display.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of folks in the younger generation are starting to question their roots, and we should have a place for them to do that,” Kagami said.\u003c/p>\n\u003cfigure id=\"attachment_13933962\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED.jpg\" alt=\"Japantown Task Force intern Kanata Chatana dances at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Japantown Task Force intern Kanata Chatana dances at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As dancers and elders got dressed in their yukatas, Eryn Kimura, a KOHO advisory board member alongside Miyano, reflected on how a history of displacement has weighed heavily on the Bay Area’s Japanese American community.\u003c/p>\n\u003cp>“That piece is always going to be looming, that lack of self-determination and ownership over your own space,” Kimura said. “And there’s also joy and something special about folks coming together and having these cultural events to anchor and soundboard their identity.”\u003c/p>\n\u003cfigure id=\"attachment_13933955\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED.jpg\" alt=\"Karen Kai (left) and Keyana Stevens (right) stand on stage after winning the Yukata remix contest at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. Stevens created her outfit herself upon learning about the contest.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Karen Kai (left) and Keyana Stevens (right) stand on stage after winning the Yukata remix contest at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. Stevens created her outfit herself upon learning about the contest. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born and raised in San Francisco, Kenny Okakagi, 27, got involved with BonPOP through his clothing boutique shop in the Japantown mall called Chameleon Vintage.\u003c/p>\n\u003cp>“With Japanese Incarceration and Urban Renewal, not a lot of us live in Japantown anymore,” said Okagaki, who now lives in Oakland. “This event that brings people back to Japantown — and brings in new people, too — is a really beautiful thing.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below.\u003c/em> \u003c/strong>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13933953\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED.jpg\" alt=\"Buddhist Church member Aaron Lum carries his 7-year-old son Kazuhito Jue on his shoulders while dancing during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church member Aaron Lum carries his 7-year-old son Kazuhito Jue on his shoulders while dancing during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED.jpg\" alt=\"KOHO volunteers Eli Pehwan (left) and Khan Chu (right) hang memorial lanterns in the Japantown Peace Plaza during KOHO’s BonPop Obon in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KOHO volunteers Eli Pehwan (left) and Khan Chu (right) hang memorial lanterns in the Japantown Peace Plaza during KOHO’s BonPop Obon in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933954\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED.jpg\" alt=\"Buddhist Church dance leader Karen Kai demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church dance leader Karen Kai demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED.jpg\" alt=\"Spectators watch Obon dancing at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators watch Obon dancing at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED.jpg\" alt=\"GenRyu Arts founder Melody Takata plays taiko during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">GenRyu Arts founder Melody Takata plays taiko during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED.jpg\" alt=\"People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933960\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED.jpg\" alt=\"People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933956\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED.jpg\" alt=\"Buddhist Church dance leader Talia Low (center) demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church dance leader Talia Low (center) demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "PHOTOS: BonPOP Obon Celebration, Japantown San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a child, Laura Miyano celebrated Obon with her family in Sacramento County by wearing a pink kimono with red and black stripes, passed down by her mother. There were prayers, traditional songs, rehearsed dances and great uncles who drank whiskey and smoked cigars. \u003c/p>\n\u003cp>On Saturday, Miyano’s 12-year-old daughter Maile wore the same kimono, albeit at a slightly different Obon celebration in San Francisco’s Japantown known as BonPOP, which Miyano helped organize. \u003c/p>\n\u003cfigure id=\"attachment_13933957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED.jpg\" alt=\"Buddhist Church members Chiemi Silver and her mom Nanayo Silver help 11-year-old Maile Bellet dress in her grandmother’s kimono before KOHO’s BonPop Obon Festival in the Japantown East Mall in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68331_20230826-BonPop-26-JY-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church members Chiemi Silver and her mom Nanayo Silver help 11-year-old Maile Bellet dress in her grandmother’s kimono before KOHO’s BonPop Obon Festival in the Japantown East Mall in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our Obon reminds me of the one from when I was a kid, but, you know, it’s a bunch of aunties,” Miyano laughed. “We were like, ‘Let’s get everyone involved and make it fun!’”\u003c/p>\n\u003cp>Under Japantown’s Peace Pagoda and a setting sun, Miyano, her family and a large crowd of community members honored the ancestors with dancing and singing, but also pop songs and a fashion contest that “remixed” traditional Japanese yukata with contemporary pieces like sneakers.\u003c/p>\n\u003cp>“We want young people to learn traditional dances and the meaning of Obon, but to put their own spin on it,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13933964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED.jpg\" alt=\"KOHO founder Susie Kagami speaks on stage during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68372_20230826-BonPop-69-JY-2-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KOHO founder Susie Kagami speaks on stage during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the stewardship of Susie Kagami, the Executive Director of KOHO SF, BonPOP aims to put a modern twist on the over 500-year-old Japanese holiday, when people all over Japan return to their familial villages to honor their ancestors. The hope is to reconnect young people with their culture by welcoming creative expression into an age-old tradition, says Kagami, who wore a floral yukata gathered above her knees — leather cowboy boots on full display.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of folks in the younger generation are starting to question their roots, and we should have a place for them to do that,” Kagami said.\u003c/p>\n\u003cfigure id=\"attachment_13933962\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED.jpg\" alt=\"Japantown Task Force intern Kanata Chatana dances at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68361_20230826-BonPop-60-JY-7-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Japantown Task Force intern Kanata Chatana dances at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As dancers and elders got dressed in their yukatas, Eryn Kimura, a KOHO advisory board member alongside Miyano, reflected on how a history of displacement has weighed heavily on the Bay Area’s Japanese American community.\u003c/p>\n\u003cp>“That piece is always going to be looming, that lack of self-determination and ownership over your own space,” Kimura said. “And there’s also joy and something special about folks coming together and having these cultural events to anchor and soundboard their identity.”\u003c/p>\n\u003cfigure id=\"attachment_13933955\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED.jpg\" alt=\"Karen Kai (left) and Keyana Stevens (right) stand on stage after winning the Yukata remix contest at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. Stevens created her outfit herself upon learning about the contest.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68317_20230826-BonPop-12-JY-9-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Karen Kai (left) and Keyana Stevens (right) stand on stage after winning the Yukata remix contest at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. Stevens created her outfit herself upon learning about the contest. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born and raised in San Francisco, Kenny Okakagi, 27, got involved with BonPOP through his clothing boutique shop in the Japantown mall called Chameleon Vintage.\u003c/p>\n\u003cp>“With Japanese Incarceration and Urban Renewal, not a lot of us live in Japantown anymore,” said Okagaki, who now lives in Oakland. “This event that brings people back to Japantown — and brings in new people, too — is a really beautiful thing.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below.\u003c/em> \u003c/strong>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13933953\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED.jpg\" alt=\"Buddhist Church member Aaron Lum carries his 7-year-old son Kazuhito Jue on his shoulders while dancing during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68313_20230826-BonPop-08-JY-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church member Aaron Lum carries his 7-year-old son Kazuhito Jue on his shoulders while dancing during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED.jpg\" alt=\"KOHO volunteers Eli Pehwan (left) and Khan Chu (right) hang memorial lanterns in the Japantown Peace Plaza during KOHO’s BonPop Obon in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68367_20230826-BonPop-66-JY-5-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KOHO volunteers Eli Pehwan (left) and Khan Chu (right) hang memorial lanterns in the Japantown Peace Plaza during KOHO’s BonPop Obon in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933954\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED.jpg\" alt=\"Buddhist Church dance leader Karen Kai demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68314_20230826-BonPop-09-JY-8-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church dance leader Karen Kai demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED.jpg\" alt=\"Spectators watch Obon dancing at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68343_20230826-BonPop-44-JY-4-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators watch Obon dancing at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED.jpg\" alt=\"GenRyu Arts founder Melody Takata plays taiko during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68353_20230826-BonPop-50-JY-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">GenRyu Arts founder Melody Takata plays taiko during KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED.jpg\" alt=\"People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68341_20230826-BonPop-36-JY-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933960\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED.jpg\" alt=\"People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68348_20230826-BonPop-45-JY-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People dance in KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. This is KOHO’s second year holding Obon in Japantown, a traditional Japanese holiday that honors one’s ancestors. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933956\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED.jpg\" alt=\"Buddhist Church dance leader Talia Low (center) demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68320_20230826-BonPop-15-JY-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Buddhist Church dance leader Talia Low (center) demonstrates an Obon dance at KOHO’s BonPop Obon in the Japantown Peace Plaza in San Francisco on Saturday, August 26, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Filmmaker Boots Riley on Hollywood Strikes ‘Radicalizing’ Creative Class",
"headTitle": "Oakland Filmmaker Boots Riley on Hollywood Strikes ‘Radicalizing’ Creative Class | KQED",
"content": "\u003cp>We’re nearing the four-month mark for the \u003ca href=\"https://www.kqed.org/arts/tag/writers-strike\">writer’s strike\u003c/a>, and it’s been more than a month since the \u003ca href=\"https://deadline.com/story-arc/sag-aftra-strike/\">actors joined them\u003c/a>. Oakland filmmaker \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a> has been a labor advocate and activist since his teen years, and he shared his perspective with KQED’s Rachael Myrow. \u003c/p>\n\u003cp>\u003cem>This conversation has been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>[aside postID='news_11956178']\u003cstrong>What would you say is the mood now on the picket lines, all these months out?\u003c/strong>\u003c/p>\n\u003cp>Striking — although there’s a downside to it, [because] you are risking something, you are sacrificing something — there’s community that is built, and that can be fun.\u003c/p>\n\u003cp>\u003cstrong>You know, I was a baby reporter the last time that the writers went out on strike (2007-2008). I remember there being a lot more dissension within the ranks, people questioning union leadership. It really strikes me this time around that you don’t see that. You see people really in lock step with leadership. It’s like everyone sort of agrees that this is existential.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yeah. Well, there are two things. One, [in] 2011, we had a movement that swept across the US called the \u003ca href=\"https://www.kqed.org/forum/2010101886461/the-legacy-of-the-occupy-movement-10-years-later\">Occupy movement\u003c/a>, and it was in every single town and city — 99% against the 1%. So you had that.\u003c/p>\n\u003cp>Then, by the time this strike came out, there had been 3,000 \u003ca href=\"https://paydayreport.com/payday-interactive-strike-tracker/\">strikes and work stoppages\u003c/a> in the United States since 2020 [according to the crowdfunded labor publication \u003ca href=\"https://paydayreport.com/payday-interactive-strike-tracker/\">Payday Report\u003c/a>]. Basically, that makes us in the middle of the biggest strike wave that the US has seen since the 1970s.\u003c/p>\n\u003cp>\u003cstrong>But this is not your grandma’s \u003ca href=\"https://amptp.org/aboutus.html\">AMPTP\u003c/a> [Association of Motion Picture and Television Producers]. [The biggest companies the organization represents are] half, at this point, if not more, \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">Big Tech\u003c/a>…\u003c/strong>\u003c/p>\n\u003cp>They’re carrying that same ethos over to the entertainment business.\u003c/p>\n\u003cp>[aside postID='forum_2010101893314']\u003cstrong>Any one of these companies has more money at its fingertips than many nation states. They’ve got deep pockets, and they also have binders full of lawyers. You’re a musician. You’ve probably watched what’s happened with Spotify. \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">They just ate the musicians’ lunch\u003c/a>. You get these royalty checks for 0.00036 cents, for a year.\u003c/strong>\u003c/p>\n\u003cp>It is terrible what streaming is doing. It’s also not that far off from how people were getting paid in the 1990s and before. Think about how many times somebody played your album, and the radio played it, and that you were only getting maybe 50 cents to a dollar for every album, if you got anything from that. It’s all capitalism. There wasn’t this shining time when everything was great.\u003c/p>\n\u003cp>That being said, the way that it could be handled is the same way Charlie Chaplin and them created the first Screen Actors Guild [\u003ca href=\"https://www.history.com/this-day-in-history/united-artists-created#\">United Artists Corporation\u003c/a>]. If all the big artists that had stuff about to come out this year withheld all that stuff, and worked together, they could make it better for everybody.\u003c/p>\n\u003cp>\u003cstrong>So I know it’s always dangerous to read a crystal ball. What does your gut tell you about where especially the WGA’s fight is going?\u003c/strong>\u003c/p>\n\u003cp>I think the Writers Guild knows that, if they come away from — I’m saying “they.” I’m in the Writers Guild, I’m in the DGA and I’m actually also in SAG — but I think the writer leadership knows that if they go on a strike this long and come back with very minimal gains, that it discourages people from striking.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Boots Riley']As someone who has spent a lifetime making culture trying to put out a class analysis, I see now some of what I’m doing is redundant, because everybody is already there. [/pullquote] On the other hand, AMPTP, they’ll easily still make billions of dollars and still have all their stuff if they gave into everything that the WGA wanted. Their reason for not wanting to do it and, and is ideological, an overarching view of how capitalism should and shouldn’t work who controls our world.\u003c/p>\n\u003cp>This strike is diffusing all of the smoke screen that they had, right? What it’s doing is radicalizing all of their workers. So they [the AMPTP] really need to settle the strikes as quickly as possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As someone who has spent a lifetime making culture trying to put out a class analysis, I see now some of what I’m doing is redundant, because everybody is already there. Folks [who] had this idea that we’re in a different kind of capitalism once you’re in the tech world? AMPTP and what they’re doing with this strike is destroying all of that.\u003c/p>\n\n",
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"excerpt": "Boots Riley reflects on the contentious struggle between creative labor and management in Hollywood.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re nearing the four-month mark for the \u003ca href=\"https://www.kqed.org/arts/tag/writers-strike\">writer’s strike\u003c/a>, and it’s been more than a month since the \u003ca href=\"https://deadline.com/story-arc/sag-aftra-strike/\">actors joined them\u003c/a>. Oakland filmmaker \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a> has been a labor advocate and activist since his teen years, and he shared his perspective with KQED’s Rachael Myrow. \u003c/p>\n\u003cp>\u003cem>This conversation has been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>What would you say is the mood now on the picket lines, all these months out?\u003c/strong>\u003c/p>\n\u003cp>Striking — although there’s a downside to it, [because] you are risking something, you are sacrificing something — there’s community that is built, and that can be fun.\u003c/p>\n\u003cp>\u003cstrong>You know, I was a baby reporter the last time that the writers went out on strike (2007-2008). I remember there being a lot more dissension within the ranks, people questioning union leadership. It really strikes me this time around that you don’t see that. You see people really in lock step with leadership. It’s like everyone sort of agrees that this is existential.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah. Well, there are two things. One, [in] 2011, we had a movement that swept across the US called the \u003ca href=\"https://www.kqed.org/forum/2010101886461/the-legacy-of-the-occupy-movement-10-years-later\">Occupy movement\u003c/a>, and it was in every single town and city — 99% against the 1%. So you had that.\u003c/p>\n\u003cp>Then, by the time this strike came out, there had been 3,000 \u003ca href=\"https://paydayreport.com/payday-interactive-strike-tracker/\">strikes and work stoppages\u003c/a> in the United States since 2020 [according to the crowdfunded labor publication \u003ca href=\"https://paydayreport.com/payday-interactive-strike-tracker/\">Payday Report\u003c/a>]. Basically, that makes us in the middle of the biggest strike wave that the US has seen since the 1970s.\u003c/p>\n\u003cp>\u003cstrong>But this is not your grandma’s \u003ca href=\"https://amptp.org/aboutus.html\">AMPTP\u003c/a> [Association of Motion Picture and Television Producers]. [The biggest companies the organization represents are] half, at this point, if not more, \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">Big Tech\u003c/a>…\u003c/strong>\u003c/p>\n\u003cp>They’re carrying that same ethos over to the entertainment business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Any one of these companies has more money at its fingertips than many nation states. They’ve got deep pockets, and they also have binders full of lawyers. You’re a musician. You’ve probably watched what’s happened with Spotify. \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">They just ate the musicians’ lunch\u003c/a>. You get these royalty checks for 0.00036 cents, for a year.\u003c/strong>\u003c/p>\n\u003cp>It is terrible what streaming is doing. It’s also not that far off from how people were getting paid in the 1990s and before. Think about how many times somebody played your album, and the radio played it, and that you were only getting maybe 50 cents to a dollar for every album, if you got anything from that. It’s all capitalism. There wasn’t this shining time when everything was great.\u003c/p>\n\u003cp>That being said, the way that it could be handled is the same way Charlie Chaplin and them created the first Screen Actors Guild [\u003ca href=\"https://www.history.com/this-day-in-history/united-artists-created#\">United Artists Corporation\u003c/a>]. If all the big artists that had stuff about to come out this year withheld all that stuff, and worked together, they could make it better for everybody.\u003c/p>\n\u003cp>\u003cstrong>So I know it’s always dangerous to read a crystal ball. What does your gut tell you about where especially the WGA’s fight is going?\u003c/strong>\u003c/p>\n\u003cp>I think the Writers Guild knows that, if they come away from — I’m saying “they.” I’m in the Writers Guild, I’m in the DGA and I’m actually also in SAG — but I think the writer leadership knows that if they go on a strike this long and come back with very minimal gains, that it discourages people from striking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "As someone who has spent a lifetime making culture trying to put out a class analysis, I see now some of what I’m doing is redundant, because everybody is already there. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp> On the other hand, AMPTP, they’ll easily still make billions of dollars and still have all their stuff if they gave into everything that the WGA wanted. Their reason for not wanting to do it and, and is ideological, an overarching view of how capitalism should and shouldn’t work who controls our world.\u003c/p>\n\u003cp>This strike is diffusing all of the smoke screen that they had, right? What it’s doing is radicalizing all of their workers. So they [the AMPTP] really need to settle the strikes as quickly as possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As someone who has spent a lifetime making culture trying to put out a class analysis, I see now some of what I’m doing is redundant, because everybody is already there. Folks [who] had this idea that we’re in a different kind of capitalism once you’re in the tech world? AMPTP and what they’re doing with this strike is destroying all of that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The owner of a former ghost town has paid four- and five-figure settlements to three workers who filed wage claims with the California Labor Commissioner’s Office, the plaintiffs told KQED.\u003c/p>\n\u003cp>Betsy Ann Cowley, 36, purchased Pulga, a 64-acre wilderness property that once operated as a mining town near Chico, with the help of her stepfather in 2015. In the years since, she’s branded Pulga as an intentional community of artists and enterprising “lady leaders,” running it as a business that rents cabins and hosts weddings and corporate retreats.\u003c/p>\n\u003cp>But in interviews with over a dozen former Pulga residents and workers, six people accused Cowley, 36, of refusing to pay them for their labor after they completed projects. Three former workers accused her of depriving them of food, and two said that she entered their private spaces while they were undressed. Many of these accusers are low-income artists from the Bay Area who came to Pulga after Cowley made offers of flexible work in a beautiful setting, and left feeling exploited and, in some cases, traumatized. [aside postid='arts_13922712' hero='https://ww2.kqed.org/app/uploads/sites/2/2022/12/unnamed-1020x574.jpg']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13922712/pulga-betsy-ann-cowley-accusations-wage-theft-labor-airbnb-resort\">KQED first reported these allegations in December 2022\u003c/a> after two former workers filed \u003ca href=\"https://www.dir.ca.gov/dlse/howtofilewageclaim.htm\">wage claims with the California Labor Commissioner’s office\u003c/a>. After the story published, a third worker filed a wage claim. As of last month, Cowley paid all three of them settlements between $2,200 and $16,000, the workers said.\u003c/p>\n\u003cp>“I feel that economically, yes, I have justice, because I took a big personal risk doing this,” said architect Danny Wills, who arrived in Pulga in September 2021 to work as Cowley’s business manager with aspirations of expanding its arts programming. In his complaint to the state, he noted that his workload quickly snowballed from office duties to 12- and 14-hour days of manual labor for which he was never compensated. He also accused Cowley of failing to reimburse thousands of dollars of business expenses that he charged to his credit card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I really trusted her and believed her,” Wills said. “And when she said, ‘You’re my friend as well’ — it’s like, friends don’t do what she did.” [pullquote size='large' citation='Michael Giedd, former friend of Betsy Cowley']‘I feel because she does it so predictably — you are preying on a marginalized group. Trying to be a working artist is really risky, and it’s very hand-to-mouth.’[/pullquote]\u003c/p>\n\u003cp>In interviews for KQED’s December 2022 story on Pulga, Cowley denied all wrongdoing and said her accusers only represent a handful of the 100 people who’ve worked and stayed on her property. “I am only trying to help people and provide a safe space,” she said last year. “And it’s amazing that people can say whatever they want to hurt somebody.”\u003c/p>\n\u003cp>Reached by phone about the wage settlements she recently paid to former workers, Cowley declined to comment further. She also offered no comment in response to a detailed list of emailed questions.\u003c/p>\n\u003cfigure id=\"attachment_13922727\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg\" alt=\"Two bridges span a river, surrounded by trees and mountains\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A Union Pacific train on the Pulga Bridge just outside the Town of Pulga in Butte County. \u003ccite>(Frank Schulenburg/CC 4.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I was being gaslit’\u003c/h2>\n\u003cp>Wills filed his wage claim against Cowley last December. After he inputted his unpaid hours using the state’s online form, he received an official letter from the California Labor Commissioner’s Office that estimated his claim at $44,230.95.\u003c/p>\n\u003cp>Wills said he spent three months working overtime for Cowley in 2021. “I felt like I was being gaslit in a certain sense that I wasn’t even worth the money that I was asking for,” he reflected of his conversations with Cowley after she allegedly refused to pay him.\u003c/p>\n\u003cp>At Wills’ May 4 settlement conference, mediated by a deputy labor commissioner, Cowley brought a lawyer. Wills could not afford to do so and represented himself.\u003c/p>\n\u003cp>Cowley and Wills reached a settlement of $16,000. He received the final installment of his payments in July 2023, nearly two years after he left Pulga.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cddg6KZjL01/\u003c/p>\n\u003cp>Two other workers, Sosha Young and Ricky Ybarra, filed wage claims against Cowley in September 2022. In June of that year, Cowley recruited Ybarra to Pulga after the chef had been laid off from Starline Social Club, the now-shuttered Oakland bar owned by Cowley’s then-husband Adam Hatch. Young, Ybarra’s girlfriend, soon followed him there to work as sous chef. The two agreed to design menus and cook for Cowley’s private-event services, which advertise bespoke offerings such as “farm-to-table catering.”\u003c/p>\n\u003cp>Young and Ybarra said they worked hundreds of unpaid additional hours cleaning Airbnb cabins, taking out garbage and running overnight security. They said Cowley derailed discussions about payment. They also detailed an incident in which she walked in on them while they were undressed and threw a $50 dollar bill at them, asking if they were “good” for their unpaid wages.\u003c/p>\n\u003cp>“She essentially began treating us like her personal indentured servants,” Young wrote in her complaint to the Labor Commissioner’s Office. After she and Ybarra filled out their unpaid hours, the Labor Commissioner’s Office estimated Ybarra’s wage claim as $25,610 and Young’s at $19,830.\u003c/p>\n\u003cp>Young and Ybarra ultimately settled with Cowley for a total of $5,500 — about 12% of their claim estimates. Cowley paid Young and Ybarra in February. “They got us to basically go down to the bare minimum [of] what you would pay an unskilled 15-year-old,” Young said, “not two people who have been industry professionals for 10 or 15 years a pop.”\u003c/p>\n\u003cp>Though Young and Ybarra only received a small fraction of their claim, “the biggest thing was being able to end it, because we found out that if we didn’t settle, then it would have taken two years to get a court date,” Young added.\u003c/p>\n\u003ch2>Accusations of ‘systematic’ abuse\u003c/h2>\n\u003cp>After KQED’s story ran in December 2022, an additional nine people contacted this newsroom to share negative experiences about working for, renting from or doing business with Cowley.\u003c/p>\n\u003cp>Michael Giedd, an Oakland artist, was friends with Cowley for approximately six years. Their relationship soured after she refused to pay him for a project he completed for her nearly 15 years ago, he said. In the time since, he said he’s heard from several other creatives who say that Cowley enticed them to Pulga with offers of work and then refused to pay once the jobs were completed.\u003c/p>\n\u003cp>“It’s been systematic to so many people that don’t know each other, but are similar types of people,” Giedd said. “They’re always someone trying to be creative, whether it’s a chef or a woodworker or a mural painter, whatever she needs.” [aside postid='arts_13857471']\u003c/p>\n\u003cp>“I feel because she does it so predictably — you are preying on a marginalized group,” he added. “Trying to be a working artist is really risky, and it’s very hand-to-mouth.”\u003c/p>\n\u003cp>Lenora Pritchard, who did demolition work for Cowley in a work-trade agreement in 2015, said she witnessed Cowley mistreat volunteers from the organization World Wide Opportunities on Organic Farms, or WWOOF. The organization pairs volunteers with hosts who are required to provide three meals a day and adequate shelter.\u003c/p>\n\u003cp>“She was barely feeding them. She was hardly housing them. She was abusive,” Pritchard said of her time at Pulga in 2015. A WWOOF volunteer who spent time in Pulga in April 2022 relayed similar accusations, adding that Cowley used the program \u003cspan style=\"font-weight: 400\">—\u003c/span> whose purpose is to provide educational opportunities in farm work \u003cspan style=\"font-weight: 400\">—\u003c/span> as free labor her Airbnb business, and assigned dangerous work such as handling fiberglass without proper safety equipment.\u003c/p>\n\u003cp>As for the artists who filed wage claims against Cowley, their ordeal in Pulga put them in dire financial predicaments. While pursuing settlements from September 2022 to February 2023, Young and Ybarra worked multiple jobs in order to secure permanent housing, pay off overdue bills and repair thousands of dollars in damage to their car incurred by work on Pulga’s rocky terrain, they said. (They’re now fundraising on \u003ca href=\"https://www.gofundme.com/f/ybarra-young-pulga-relief\">GoFundMe\u003c/a>.)\u003c/p>\n\u003cp>“To have your only job withhold two months of pay and then kick you out of your home — I don’t even know how to explain the severity of that,” Young said. “If we didn’t stay with my mom for a month, we would have been under a bridge in West Oakland or something, living in my car.”\u003c/p>\n\u003cp>“We’re still feeling the repercussions, a year later,” Ybarra said.\u003c/p>\n\u003ch2>Workers try to move on after Pulga\u003c/h2>\n\u003cp>Since paying the wage settlements, it’s unclear if Pulga is an active business. Cowley is no longer a WWOOF host, a representative of the organization confirmed via email. Her cabins are no longer listed on Airbnb. The Pulga social media accounts haven’t been updated since February.\u003c/p>\n\u003cp>But Pulga’s website still advertises cabins and venues for corporate retreats and weddings, with photos of guests dancing under the stars and floating down the Feather River. And Cowley’s two LLCs, Town of Pulga Management Company and TOP II, are still active.\u003c/p>\n\u003cp>The artists interviewed for this story worry that more people could be enticed by Pulga’s natural beauty and offers of flexible work. Unless one files a public records request, or navigates a hard-to-find \u003ca href=\"https://cadir.my.site.com/wcsearch/s/\">wage claim search tool\u003c/a> on the Labor Commissioner’s website, it’s difficult to ascertain whether a prospective employer has faced accusations of wage theft or other kinds of abuse.\u003c/p>\n\u003cp>Attorney Kim Ouillette of the nonprofit \u003ca href=\"https://legalaidatwork.org/\">Legal Aid at Work\u003c/a> says the Pulga workers’ stories are important because they show other laborers that they have recourse against non-paying employers. “It’s good for workers to know this process is out there. If you have not received your wages, you can file a claim. And even if you don’t have an attorney, you can file online,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13933345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young, singer and guitarist, and Ricky Ybarra, on drums, play with their band YY Gray at Brick & Mortar Music Hall in San Francisco on May 25, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the former workers, the emotional scars of their ordeal have begun to fade. Wills has a career in teaching. In hindsight, he now sees how he and other artists get lured into abusive workplace dynamics. “It’s really tough as an artist to not give yourself away when you’re passionate about creative things,” he said. “But the ways that we were trying to get those passions fulfilled, we were meeting the wrong people.”\u003c/p>\n\u003cp>Young and Ybarra now play regular shows with their band YY Gray, where they have the last word with their song about Pulga, “\u003ca href=\"https://yygray.bandcamp.com/track/apocalypse-ranch\">Apocalypse Ranch\u003c/a>.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The rock ’n’ roll ballad begins with an invitation to an enticing new land, where “your dreams have a chance / everything’s provided.” By the second verse, the promise is good to be true: “It crumbles to the touch / every time,” Young sings.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13922712/pulga-betsy-ann-cowley-accusations-wage-theft-labor-airbnb-resort\">KQED first reported these allegations in December 2022\u003c/a> after two former workers filed \u003ca href=\"https://www.dir.ca.gov/dlse/howtofilewageclaim.htm\">wage claims with the California Labor Commissioner’s office\u003c/a>. After the story published, a third worker filed a wage claim. As of last month, Cowley paid all three of them settlements between $2,200 and $16,000, the workers said.\u003c/p>\n\u003cp>“I feel that economically, yes, I have justice, because I took a big personal risk doing this,” said architect Danny Wills, who arrived in Pulga in September 2021 to work as Cowley’s business manager with aspirations of expanding its arts programming. In his complaint to the state, he noted that his workload quickly snowballed from office duties to 12- and 14-hour days of manual labor for which he was never compensated. He also accused Cowley of failing to reimburse thousands of dollars of business expenses that he charged to his credit card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I really trusted her and believed her,” Wills said. “And when she said, ‘You’re my friend as well’ — it’s like, friends don’t do what she did.” \u003c/p>\u003c/div>",
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"content": "‘I feel because she does it so predictably — you are preying on a marginalized group. Trying to be a working artist is really risky, and it’s very hand-to-mouth.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In interviews for KQED’s December 2022 story on Pulga, Cowley denied all wrongdoing and said her accusers only represent a handful of the 100 people who’ve worked and stayed on her property. “I am only trying to help people and provide a safe space,” she said last year. “And it’s amazing that people can say whatever they want to hurt somebody.”\u003c/p>\n\u003cp>Reached by phone about the wage settlements she recently paid to former workers, Cowley declined to comment further. She also offered no comment in response to a detailed list of emailed questions.\u003c/p>\n\u003cfigure id=\"attachment_13922727\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg\" alt=\"Two bridges span a river, surrounded by trees and mountains\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A Union Pacific train on the Pulga Bridge just outside the Town of Pulga in Butte County. \u003ccite>(Frank Schulenburg/CC 4.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I was being gaslit’\u003c/h2>\n\u003cp>Wills filed his wage claim against Cowley last December. After he inputted his unpaid hours using the state’s online form, he received an official letter from the California Labor Commissioner’s Office that estimated his claim at $44,230.95.\u003c/p>\n\u003cp>Wills said he spent three months working overtime for Cowley in 2021. “I felt like I was being gaslit in a certain sense that I wasn’t even worth the money that I was asking for,” he reflected of his conversations with Cowley after she allegedly refused to pay him.\u003c/p>\n\u003cp>At Wills’ May 4 settlement conference, mediated by a deputy labor commissioner, Cowley brought a lawyer. Wills could not afford to do so and represented himself.\u003c/p>\n\u003cp>Cowley and Wills reached a settlement of $16,000. He received the final installment of his payments in July 2023, nearly two years after he left Pulga.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two other workers, Sosha Young and Ricky Ybarra, filed wage claims against Cowley in September 2022. In June of that year, Cowley recruited Ybarra to Pulga after the chef had been laid off from Starline Social Club, the now-shuttered Oakland bar owned by Cowley’s then-husband Adam Hatch. Young, Ybarra’s girlfriend, soon followed him there to work as sous chef. The two agreed to design menus and cook for Cowley’s private-event services, which advertise bespoke offerings such as “farm-to-table catering.”\u003c/p>\n\u003cp>Young and Ybarra said they worked hundreds of unpaid additional hours cleaning Airbnb cabins, taking out garbage and running overnight security. They said Cowley derailed discussions about payment. They also detailed an incident in which she walked in on them while they were undressed and threw a $50 dollar bill at them, asking if they were “good” for their unpaid wages.\u003c/p>\n\u003cp>“She essentially began treating us like her personal indentured servants,” Young wrote in her complaint to the Labor Commissioner’s Office. After she and Ybarra filled out their unpaid hours, the Labor Commissioner’s Office estimated Ybarra’s wage claim as $25,610 and Young’s at $19,830.\u003c/p>\n\u003cp>Young and Ybarra ultimately settled with Cowley for a total of $5,500 — about 12% of their claim estimates. Cowley paid Young and Ybarra in February. “They got us to basically go down to the bare minimum [of] what you would pay an unskilled 15-year-old,” Young said, “not two people who have been industry professionals for 10 or 15 years a pop.”\u003c/p>\n\u003cp>Though Young and Ybarra only received a small fraction of their claim, “the biggest thing was being able to end it, because we found out that if we didn’t settle, then it would have taken two years to get a court date,” Young added.\u003c/p>\n\u003ch2>Accusations of ‘systematic’ abuse\u003c/h2>\n\u003cp>After KQED’s story ran in December 2022, an additional nine people contacted this newsroom to share negative experiences about working for, renting from or doing business with Cowley.\u003c/p>\n\u003cp>Michael Giedd, an Oakland artist, was friends with Cowley for approximately six years. Their relationship soured after she refused to pay him for a project he completed for her nearly 15 years ago, he said. In the time since, he said he’s heard from several other creatives who say that Cowley enticed them to Pulga with offers of work and then refused to pay once the jobs were completed.\u003c/p>\n\u003cp>“It’s been systematic to so many people that don’t know each other, but are similar types of people,” Giedd said. “They’re always someone trying to be creative, whether it’s a chef or a woodworker or a mural painter, whatever she needs.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel because she does it so predictably — you are preying on a marginalized group,” he added. “Trying to be a working artist is really risky, and it’s very hand-to-mouth.”\u003c/p>\n\u003cp>Lenora Pritchard, who did demolition work for Cowley in a work-trade agreement in 2015, said she witnessed Cowley mistreat volunteers from the organization World Wide Opportunities on Organic Farms, or WWOOF. The organization pairs volunteers with hosts who are required to provide three meals a day and adequate shelter.\u003c/p>\n\u003cp>“She was barely feeding them. She was hardly housing them. She was abusive,” Pritchard said of her time at Pulga in 2015. A WWOOF volunteer who spent time in Pulga in April 2022 relayed similar accusations, adding that Cowley used the program \u003cspan style=\"font-weight: 400\">—\u003c/span> whose purpose is to provide educational opportunities in farm work \u003cspan style=\"font-weight: 400\">—\u003c/span> as free labor her Airbnb business, and assigned dangerous work such as handling fiberglass without proper safety equipment.\u003c/p>\n\u003cp>As for the artists who filed wage claims against Cowley, their ordeal in Pulga put them in dire financial predicaments. While pursuing settlements from September 2022 to February 2023, Young and Ybarra worked multiple jobs in order to secure permanent housing, pay off overdue bills and repair thousands of dollars in damage to their car incurred by work on Pulga’s rocky terrain, they said. (They’re now fundraising on \u003ca href=\"https://www.gofundme.com/f/ybarra-young-pulga-relief\">GoFundMe\u003c/a>.)\u003c/p>\n\u003cp>“To have your only job withhold two months of pay and then kick you out of your home — I don’t even know how to explain the severity of that,” Young said. “If we didn’t stay with my mom for a month, we would have been under a bridge in West Oakland or something, living in my car.”\u003c/p>\n\u003cp>“We’re still feeling the repercussions, a year later,” Ybarra said.\u003c/p>\n\u003ch2>Workers try to move on after Pulga\u003c/h2>\n\u003cp>Since paying the wage settlements, it’s unclear if Pulga is an active business. Cowley is no longer a WWOOF host, a representative of the organization confirmed via email. Her cabins are no longer listed on Airbnb. The Pulga social media accounts haven’t been updated since February.\u003c/p>\n\u003cp>But Pulga’s website still advertises cabins and venues for corporate retreats and weddings, with photos of guests dancing under the stars and floating down the Feather River. And Cowley’s two LLCs, Town of Pulga Management Company and TOP II, are still active.\u003c/p>\n\u003cp>The artists interviewed for this story worry that more people could be enticed by Pulga’s natural beauty and offers of flexible work. Unless one files a public records request, or navigates a hard-to-find \u003ca href=\"https://cadir.my.site.com/wcsearch/s/\">wage claim search tool\u003c/a> on the Labor Commissioner’s website, it’s difficult to ascertain whether a prospective employer has faced accusations of wage theft or other kinds of abuse.\u003c/p>\n\u003cp>Attorney Kim Ouillette of the nonprofit \u003ca href=\"https://legalaidatwork.org/\">Legal Aid at Work\u003c/a> says the Pulga workers’ stories are important because they show other laborers that they have recourse against non-paying employers. “It’s good for workers to know this process is out there. If you have not received your wages, you can file a claim. And even if you don’t have an attorney, you can file online,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13933345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young, singer and guitarist, and Ricky Ybarra, on drums, play with their band YY Gray at Brick & Mortar Music Hall in San Francisco on May 25, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the former workers, the emotional scars of their ordeal have begun to fade. Wills has a career in teaching. In hindsight, he now sees how he and other artists get lured into abusive workplace dynamics. “It’s really tough as an artist to not give yourself away when you’re passionate about creative things,” he said. “But the ways that we were trying to get those passions fulfilled, we were meeting the wrong people.”\u003c/p>\n\u003cp>Young and Ybarra now play regular shows with their band YY Gray, where they have the last word with their song about Pulga, “\u003ca href=\"https://yygray.bandcamp.com/track/apocalypse-ranch\">Apocalypse Ranch\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rock ’n’ roll ballad begins with an invitation to an enticing new land, where “your dreams have a chance / everything’s provided.” By the second verse, the promise is good to be true: “It crumbles to the touch / every time,” Young sings.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Oher, the former NFL tackle known for being the inspiration for the movie \u003cem>The Blind Side\u003c/em>, filed a petition Monday in a Tennessee probate court accusing Sean and Leigh Anne Tuohy of lying to him by having him sign papers making them his conservators rather than his adoptive parents nearly two decades ago.\u003c/p>\n\u003cp>[aside postid='arts_13931352']In the petition filed Monday in Shelby County Probate Court, Oher asks for the conservatorship to be terminated along with asking for a full accounting of the money earned off the use of his name and story. He also asks to be paid what he is due along with interest.\u003c/p>\n\u003cp>He accuses the Tuohys of enriching themselves at his expense by continuing to “falsely and publicly” represent themselves as his adoptive parents “to the date of the filing of this petition.”\u003c/p>\n\u003cp>“Oher discovered this lie to his chagrin and embarrassment in February of 2023, when he learned that the Conservatorship to which he consented on the basis that doing so would make him a member of the Tuohy family, in fact provided him no familial relationship with the Tuohys,” according to the petition.\u003c/p>\n\u003cp>Oher, who has never been a fan of the movie of his life, also asks in the petition that the Tuohys be sanctioned and required to pay both compensatory and punitive damages determined by the court.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ESPN.com first reported the petition.\u003c/p>\n\u003cp>Steve Farese, a lawyer for the Tuohys, told The Associated Press they will file an answer to the allegations in court but declined to comment further. He was among three attorneys served on behalf of the Tuohys on Monday.\u003c/p>\n\u003cp>Leigh Anne Tuohy did not immediately respond to an email sent to her personal website.\u003c/p>\n\u003cp>The movie was nominated for an Oscar, and Sandra Bullock won the Academy Award for her portrayal of Leigh Anne Tuohy.\u003c/p>\n\u003cp>Oher accuses the Tuohys of never taking legal action to assume custody from the Tennessee Department of Human Services before he turned 18. The conservatorship paperwork was filed months after Oher turned 18 in May 2004.\u003c/p>\n\u003cp>He moved in with the Tuohys just before his senior year of high school and says he was told to call them “Mom” and “Dad.” Oher says in the petition he was encouraged to call the attorney who filed the conservatorship paperwork “Aunt Debbie” Branan.\u003c/p>\n\u003cp>[aside postid='arts_13931346']Oher also alleges the Tuohys had him sign paperwork almost immediately after he moved in as part of the adoption process. Oher says he was “falsely advised” that it would be called a conservatorship because he was already 18 but the intent was adoption.\u003c/p>\n\u003cp>“At no point did the Tuohys inform Michael that they would have ultimate control of all his contracts, and as a result Michael did not understand that if the Conservatorship was granted, he was signing away his right to contract for himself,” according to the petition.\u003c/p>\n\u003cp>A book based on Oher’s life was released in September 2006 written by Michael Lewis, described in the petition as a childhood friend of Sean Tuohy’s. The petition alleges his conservators began contract negotiations for movie rights.\u003c/p>\n\u003cfigure id=\"attachment_13933180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-800x568.jpg\" alt=\"A white woman with long brown hair, wearing a soft pink strapless gown stands with a shorter blonde woman who is smiling and wearing a white strapless cocktail dress.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-1536x1090.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Sandra Bullock with Leigh Anne Tuohy at ‘The Blind Side’ benefit premiere in New Orleans in 2009. \u003ccite>(Skip Bolen/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The petition alleges a deal was reached to pay the Tuohys, plus children Sean Jr. and Collins, $225,000 plus 2.5% of future defined net proceeds hinging on Oher’s signature. A contract titled “Life Story Rights Agreement” was “purportedly signed by Michael Oher” and dated April 20, 2007, according to the petition.\u003c/p>\n\u003cp>The petition says Oher believes the signature is similar to his own but that he “at no time ever willingly or knowingly signed this document and that nobody ever presented this contract to him with any explanation that he was signing such a document.”\u003c/p>\n\u003cp>In the petition, Oher asks for a full accounting of his assets and how they were used considering his life story produced millions of dollars and he received nothing for the rights to something that would not have existed without him.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Oher was the 23rd overall pick in the 2009 draft out of Mississippi, and he spent his first five seasons with the Baltimore Ravens. He wound up playing eight NFL seasons, including 2014 when he started 11 games for the Tennessee Titans. Oher finished his career with two years in Carolina.\u003c/p>\n\u003cp>He started 110 career games and won a Super Bowl with the Ravens. He also finished second in the voting to Percy Harvin of Minnesota for The Associated Press NFL Offensive Rookie of the Year after starting all 16 games his first season at right tackle.\u003c/p>\n\u003cp>Oher, who turned 37 in May, last played in the NFL in 2016 before being released in 2017 by Carolina.\u003c/p>\n\u003cp>Nearly two years ago, supporters cheered when Britney Spears was freed from her conservatorship. The ruling came after Spears publicly demanded the end of the arrangement, which had prevented her from making her own medical, financial and personal decisions since 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spears’ high-profile battle put a spotlight on efforts that advocates across the United States have launched raising questions that such strict controls result in more harm than protection.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ESPN.com first reported the petition.\u003c/p>\n\u003cp>Steve Farese, a lawyer for the Tuohys, told The Associated Press they will file an answer to the allegations in court but declined to comment further. He was among three attorneys served on behalf of the Tuohys on Monday.\u003c/p>\n\u003cp>Leigh Anne Tuohy did not immediately respond to an email sent to her personal website.\u003c/p>\n\u003cp>The movie was nominated for an Oscar, and Sandra Bullock won the Academy Award for her portrayal of Leigh Anne Tuohy.\u003c/p>\n\u003cp>Oher accuses the Tuohys of never taking legal action to assume custody from the Tennessee Department of Human Services before he turned 18. The conservatorship paperwork was filed months after Oher turned 18 in May 2004.\u003c/p>\n\u003cp>He moved in with the Tuohys just before his senior year of high school and says he was told to call them “Mom” and “Dad.” Oher says in the petition he was encouraged to call the attorney who filed the conservatorship paperwork “Aunt Debbie” Branan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oher also alleges the Tuohys had him sign paperwork almost immediately after he moved in as part of the adoption process. Oher says he was “falsely advised” that it would be called a conservatorship because he was already 18 but the intent was adoption.\u003c/p>\n\u003cp>“At no point did the Tuohys inform Michael that they would have ultimate control of all his contracts, and as a result Michael did not understand that if the Conservatorship was granted, he was signing away his right to contract for himself,” according to the petition.\u003c/p>\n\u003cp>A book based on Oher’s life was released in September 2006 written by Michael Lewis, described in the petition as a childhood friend of Sean Tuohy’s. The petition alleges his conservators began contract negotiations for movie rights.\u003c/p>\n\u003cfigure id=\"attachment_13933180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-800x568.jpg\" alt=\"A white woman with long brown hair, wearing a soft pink strapless gown stands with a shorter blonde woman who is smiling and wearing a white strapless cocktail dress.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826-1536x1090.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-93243522-scaled-e1692046931826.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Sandra Bullock with Leigh Anne Tuohy at ‘The Blind Side’ benefit premiere in New Orleans in 2009. \u003ccite>(Skip Bolen/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The petition alleges a deal was reached to pay the Tuohys, plus children Sean Jr. and Collins, $225,000 plus 2.5% of future defined net proceeds hinging on Oher’s signature. A contract titled “Life Story Rights Agreement” was “purportedly signed by Michael Oher” and dated April 20, 2007, according to the petition.\u003c/p>\n\u003cp>The petition says Oher believes the signature is similar to his own but that he “at no time ever willingly or knowingly signed this document and that nobody ever presented this contract to him with any explanation that he was signing such a document.”\u003c/p>\n\u003cp>In the petition, Oher asks for a full accounting of his assets and how they were used considering his life story produced millions of dollars and he received nothing for the rights to something that would not have existed without him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oher was the 23rd overall pick in the 2009 draft out of Mississippi, and he spent his first five seasons with the Baltimore Ravens. He wound up playing eight NFL seasons, including 2014 when he started 11 games for the Tennessee Titans. Oher finished his career with two years in Carolina.\u003c/p>\n\u003cp>He started 110 career games and won a Super Bowl with the Ravens. He also finished second in the voting to Percy Harvin of Minnesota for The Associated Press NFL Offensive Rookie of the Year after starting all 16 games his first season at right tackle.\u003c/p>\n\u003cp>Oher, who turned 37 in May, last played in the NFL in 2016 before being released in 2017 by Carolina.\u003c/p>\n\u003cp>Nearly two years ago, supporters cheered when Britney Spears was freed from her conservatorship. The ruling came after Spears publicly demanded the end of the arrangement, which had prevented her from making her own medical, financial and personal decisions since 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spears’ high-profile battle put a spotlight on efforts that advocates across the United States have launched raising questions that such strict controls result in more harm than protection.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kendrick Lamar, Janelle Monáe, Megan Thee Stallion Light Up Outside Lands",
"headTitle": "Kendrick Lamar, Janelle Monáe, Megan Thee Stallion Light Up Outside Lands | KQED",
"content": "\u003cp>\u003cem>This story has been updated. It was first published on Aug. 12, 2023. \u003c/em>\u003c/p>\n\u003cp>It turns out Kendrick Lamar only needs a microphone to show why he’s a titan of rap.\u003c/p>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> Friday night, Lamar took the stage bathed in blue light and immediately got down to business, delivering a crisp, refined set that underscored his stature as a poet. Even as the crowd, tens of thousands of fans deep, went wild for hits like “Swimming Pools” off 2012’s \u003ci>good kid, m.A.A.D. city\u003c/i> and “DNA” from 2017’s \u003ci>DAMN.\u003c/i>, Lamar’s minimalist stage setup underscored the emotional depth of his words: ancestral curses, internal conflicts, specters of trauma that linger even in moments of triumph.\u003c/p>\n\u003cfigure id=\"attachment_13933060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His group of male dancers, dressed in eerily identical outfits, moved in unison, following Lamar around the stage like the physical embodiment of his embattled subconscious. Meanwhile, paintings by \u003ca href=\"https://www.newyorker.com/magazine/2018/07/30/henry-taylors-promiscuous-painting\">Henry Taylor\u003c/a> hung as backdrops, its subjects making uncomfortably direct eye contact with the crowd. Even as the audience happily sang out “what’s the yams?” during “King Kunta” or jumped and chanted “Ya! Ya! Ya!” during “m.A.A.d. City,” Lamar never let the audience float into escapism for too long.\u003c/p>\n\u003cp>Though his set fell on the 50th anniversary of hip-hop culture, he didn’t stop to acknowledge the occasion, and didn’t bring out surprise guests. But he didn’t need to — this night was about his power of bringing together the collective through excavations of his most intimate pain. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13933112\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933112\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Megan Thee Stallion\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Outside Lands Sunday, the hotties were at the ready, chanting “Megan! Megan!” and clutching their friends in anticipation. Then, to the chorus of “Her,” she appeared with a cascade of waist-length red hair framing her silhouette and prepared to set the mic ablaze.\u003c/p>\n\u003cp>Megan Thee Stallion’s set was pure energy. She rapped sex-positive anthems like “Freak Nasty” and “Captain Hook” with precision while performing complicated choreography for almost an hour nonstop. She twerked a dozen different ways, showing off her world-famous knee strength. A high-energy crew of male and female dancers dressed in baby pink surrounded her as she shimmered in a glittery pink corset. (It started to break halfway through the show because of how hard she was going.)\u003c/p>\n\u003cp>Not only is Megan Thee Stallion an icon of female sexual empowerment, she’s a beacon for those who’ve risen above obstacles. Appearing to briefly address the hardships she endured after surviving a shooting at the hands of Tory Lanez, she told the audience, “Being a hottie is not easy. … Fuck all my haters, none of that shit you was doing or sayin’ broke me.” Tens of thousands of dedicated fans gave her detractors the middle finger as she rapped “What’s New.” But she seemed ready to put that pain behind her. After signing a few audience members’ graduation caps, Megan’s fun-loving mood was contagious as she triumphantly closed out the evening with one of her biggest hits, “Savage.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tobe Nwigwe performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tobe Nwigwe\u003c/b>\u003c/p>\n\u003cp>Tobe Nwigwe’s Sunday evening set made it clear: the man moves with intention. As if performing inside an art installation, he sang and rapped soulfully beneath a chorus of gospel singers, with tulle-draped dancers twirling delicately around him. Everything, from the set to the outfits, was mint green. Nwigwe’s uber-talented ensemble included his wife Fat Nwigwe, who rapped during a fiery crescendo as she and Tobe held hands with their two young daughters, both of whom got to say an adorable “bye!” into the microphone. He ended the night with the cheeky “Try Jesus”: “Try Jesus / not me / ’cause I throw hands.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Per Sia strikes a pose at Outside Land’s new open-air dance club Dolores’ on on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Dolores’\u003c/b>\u003cbr>\nA new and welcome addition to Outside Lands, the queer nightlife stage Dolores’ was lit throughout the weekend. The “open-air” dance club was a nonstop party that spotlighted Bay Area party collectives Fake and Gay and Hard French, as well as Oasis, the best drag venue in the City. Swinging by Dolores’ on the way to the Land’s End stage offered a quick dance break to house beats and hyperpop Britney Spears remixes, or a chance to see top-tier drag talent like Nikki Jizz, the star and curator of the all-Black drag show \u003cem>Reparations\u003c/em>. With so many people traveling to Outside Lands from out of town and out of state, Dolores’ gave San Francisco’s queer and trans performers the extra spotlight they deserve. Let’s hope it becomes a permanent fixture. \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zack Fox performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zack Fox\u003c/strong>\u003c/p>\n\u003cp>On Saturday, Zack Fox had his audience cackling before he rapped a single bar — or crowd surfed before 3 p.m. Repping Waffle House on a camo long-sleeve, the rapper and \u003ci>Abbott Elementary\u003c/i> actor delivered as many laughs as he did beats. The crowd rapped along to every witty verse from his 2019 track “The Bean Kicked In,” which unsubtly references his attraction to Michelle Obama. And they already had the words memorized to his single “dummy,” which debuted the day before his Outside Lands performance. Fox’s set had the energy of a stand-up comedy show, and he closed it with “Jesus Is the One (I Got Depression).” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Invisibl Skratch Piklz\u003c/strong>\u003c/p>\n\u003cp>Bay Area Filipino DJ legends QBert and D-Styles reaffirmed for the nth time on Saturday why they’re world champions of turntablism. Joined by San Francisco DJ and producer Dan the Automator, the hoodie and puffer-clad trio gave a sonically delicious set that included their rendition of “To Catch a Thief” by Lovage, one of Dan the Automator’s collaborations from a long list of projects that also includes Gorillaz and Deltron 3030.\u003c/p>\n\u003cp>Sliding smoothly from beat to beat, the DJs started off with ease, expertly cranking up the lifeforce of the audience with every epic break. Once the beat reached the pace of a sprinter’s pulse, their scratches — ranging from high whistles to deep bellows that could’ve come from the earth herself — animated the dense crowd again and again. QBert and D-Styles bodyrocked in unison, giving each other appreciative nods and smiles as they have been for decades. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933076\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>Striding and strutting through “Fallingwater” and her cover of “I Wanna Dance with Somebody,” Maggie Rogers worked the stage like a runway, her buoyant energy beaming through the onslaught of heavy fog that became light rain on Saturday evening. Her performance felt punk rock, folksy or indie pop at any given moment, and was as multidimensional as her fit: sunshine yellow leggings, a black leather mini skirt and bright pink eyeshadow.\u003c/p>\n\u003cp>After Rogers asked, “Is anybody out there in love right now?” to a frankly pitiful crowd response — you alright there, San Francisco? — she got everyone deeper in their feels with her 2021 hit “Love You for a Long Time.” Her performance of “Alaska” isolated her impassioned vocals for its first few verses, breaking from the recorded song and amplifying the chorus of festival goers hundreds of rows deep. “That song makes me feel like a goddamn pop star,” Rogers said. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Janelle Monáe\u003c/b>\u003c/p>\n\u003cp>With their latest album, Janelle Monáe has dubbed this summer \u003ci>The Age of Pleasure\u003c/i>, and onstage Friday at Outside Lands, a pansexual pool party unfolded between giant beach balls as Monáe luxuriated in each sensual lyric of “Lipstick Lover” and “Water Slide.” Monáe and their dancers donned matching bodysuits and swim caps, while the horn section performed with towels wrapped around their waists. Despite the gimmicks, it was really Monáe’s strong, resounding vocals that impressed the most. During a warm moment of appreciation, they reflected to the audience: “To be Black, to be queer, to be nonbinary and have family like you is a blessing.” \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933047\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cuco\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Washed-out psychedelia, cumbia and lovers rock swirled during Cuco’s Friday afternoon set as the singer slowly revealed his multi-instrumentalist status. Two trumpet solos, a guitar solo and lots of tinkering on his Yamaha synth showed him in a playful and inspired mood. At the end of the set, he confessed, “Last time I was out here I was dealing with a lot of substance abuse issues, and now I’m here a year sober.” The audience met him with warm, encouraging applause. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More photos from Outside Lands:\u003c/h2>\n\u003cfigure id=\"attachment_13933044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933044\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">La Doña at the Lands End VIP viewing area on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933042\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex G performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933061\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933054\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933050\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano at Outside Land’s new open-air dance club Dolores’ during the Oasis Princess dance party. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tito Soto performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933083\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manila Grey perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lil Yachty performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA headline Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance at the Hard French QUICHE party on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933123\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story has been updated. It was first published on Aug. 12, 2023. \u003c/em>\u003c/p>\n\u003cp>It turns out Kendrick Lamar only needs a microphone to show why he’s a titan of rap.\u003c/p>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> Friday night, Lamar took the stage bathed in blue light and immediately got down to business, delivering a crisp, refined set that underscored his stature as a poet. Even as the crowd, tens of thousands of fans deep, went wild for hits like “Swimming Pools” off 2012’s \u003ci>good kid, m.A.A.D. city\u003c/i> and “DNA” from 2017’s \u003ci>DAMN.\u003c/i>, Lamar’s minimalist stage setup underscored the emotional depth of his words: ancestral curses, internal conflicts, specters of trauma that linger even in moments of triumph.\u003c/p>\n\u003cfigure id=\"attachment_13933060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His group of male dancers, dressed in eerily identical outfits, moved in unison, following Lamar around the stage like the physical embodiment of his embattled subconscious. Meanwhile, paintings by \u003ca href=\"https://www.newyorker.com/magazine/2018/07/30/henry-taylors-promiscuous-painting\">Henry Taylor\u003c/a> hung as backdrops, its subjects making uncomfortably direct eye contact with the crowd. Even as the audience happily sang out “what’s the yams?” during “King Kunta” or jumped and chanted “Ya! Ya! Ya!” during “m.A.A.d. City,” Lamar never let the audience float into escapism for too long.\u003c/p>\n\u003cp>Though his set fell on the 50th anniversary of hip-hop culture, he didn’t stop to acknowledge the occasion, and didn’t bring out surprise guests. But he didn’t need to — this night was about his power of bringing together the collective through excavations of his most intimate pain. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13933112\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933112\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Megan Thee Stallion\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Outside Lands Sunday, the hotties were at the ready, chanting “Megan! Megan!” and clutching their friends in anticipation. Then, to the chorus of “Her,” she appeared with a cascade of waist-length red hair framing her silhouette and prepared to set the mic ablaze.\u003c/p>\n\u003cp>Megan Thee Stallion’s set was pure energy. She rapped sex-positive anthems like “Freak Nasty” and “Captain Hook” with precision while performing complicated choreography for almost an hour nonstop. She twerked a dozen different ways, showing off her world-famous knee strength. A high-energy crew of male and female dancers dressed in baby pink surrounded her as she shimmered in a glittery pink corset. (It started to break halfway through the show because of how hard she was going.)\u003c/p>\n\u003cp>Not only is Megan Thee Stallion an icon of female sexual empowerment, she’s a beacon for those who’ve risen above obstacles. Appearing to briefly address the hardships she endured after surviving a shooting at the hands of Tory Lanez, she told the audience, “Being a hottie is not easy. … Fuck all my haters, none of that shit you was doing or sayin’ broke me.” Tens of thousands of dedicated fans gave her detractors the middle finger as she rapped “What’s New.” But she seemed ready to put that pain behind her. After signing a few audience members’ graduation caps, Megan’s fun-loving mood was contagious as she triumphantly closed out the evening with one of her biggest hits, “Savage.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tobe Nwigwe performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tobe Nwigwe\u003c/b>\u003c/p>\n\u003cp>Tobe Nwigwe’s Sunday evening set made it clear: the man moves with intention. As if performing inside an art installation, he sang and rapped soulfully beneath a chorus of gospel singers, with tulle-draped dancers twirling delicately around him. Everything, from the set to the outfits, was mint green. Nwigwe’s uber-talented ensemble included his wife Fat Nwigwe, who rapped during a fiery crescendo as she and Tobe held hands with their two young daughters, both of whom got to say an adorable “bye!” into the microphone. He ended the night with the cheeky “Try Jesus”: “Try Jesus / not me / ’cause I throw hands.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Per Sia strikes a pose at Outside Land’s new open-air dance club Dolores’ on on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Dolores’\u003c/b>\u003cbr>\nA new and welcome addition to Outside Lands, the queer nightlife stage Dolores’ was lit throughout the weekend. The “open-air” dance club was a nonstop party that spotlighted Bay Area party collectives Fake and Gay and Hard French, as well as Oasis, the best drag venue in the City. Swinging by Dolores’ on the way to the Land’s End stage offered a quick dance break to house beats and hyperpop Britney Spears remixes, or a chance to see top-tier drag talent like Nikki Jizz, the star and curator of the all-Black drag show \u003cem>Reparations\u003c/em>. With so many people traveling to Outside Lands from out of town and out of state, Dolores’ gave San Francisco’s queer and trans performers the extra spotlight they deserve. Let’s hope it becomes a permanent fixture. \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zack Fox performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zack Fox\u003c/strong>\u003c/p>\n\u003cp>On Saturday, Zack Fox had his audience cackling before he rapped a single bar — or crowd surfed before 3 p.m. Repping Waffle House on a camo long-sleeve, the rapper and \u003ci>Abbott Elementary\u003c/i> actor delivered as many laughs as he did beats. The crowd rapped along to every witty verse from his 2019 track “The Bean Kicked In,” which unsubtly references his attraction to Michelle Obama. And they already had the words memorized to his single “dummy,” which debuted the day before his Outside Lands performance. Fox’s set had the energy of a stand-up comedy show, and he closed it with “Jesus Is the One (I Got Depression).” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Invisibl Skratch Piklz\u003c/strong>\u003c/p>\n\u003cp>Bay Area Filipino DJ legends QBert and D-Styles reaffirmed for the nth time on Saturday why they’re world champions of turntablism. Joined by San Francisco DJ and producer Dan the Automator, the hoodie and puffer-clad trio gave a sonically delicious set that included their rendition of “To Catch a Thief” by Lovage, one of Dan the Automator’s collaborations from a long list of projects that also includes Gorillaz and Deltron 3030.\u003c/p>\n\u003cp>Sliding smoothly from beat to beat, the DJs started off with ease, expertly cranking up the lifeforce of the audience with every epic break. Once the beat reached the pace of a sprinter’s pulse, their scratches — ranging from high whistles to deep bellows that could’ve come from the earth herself — animated the dense crowd again and again. QBert and D-Styles bodyrocked in unison, giving each other appreciative nods and smiles as they have been for decades. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933076\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>Striding and strutting through “Fallingwater” and her cover of “I Wanna Dance with Somebody,” Maggie Rogers worked the stage like a runway, her buoyant energy beaming through the onslaught of heavy fog that became light rain on Saturday evening. Her performance felt punk rock, folksy or indie pop at any given moment, and was as multidimensional as her fit: sunshine yellow leggings, a black leather mini skirt and bright pink eyeshadow.\u003c/p>\n\u003cp>After Rogers asked, “Is anybody out there in love right now?” to a frankly pitiful crowd response — you alright there, San Francisco? — she got everyone deeper in their feels with her 2021 hit “Love You for a Long Time.” Her performance of “Alaska” isolated her impassioned vocals for its first few verses, breaking from the recorded song and amplifying the chorus of festival goers hundreds of rows deep. “That song makes me feel like a goddamn pop star,” Rogers said. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Janelle Monáe\u003c/b>\u003c/p>\n\u003cp>With their latest album, Janelle Monáe has dubbed this summer \u003ci>The Age of Pleasure\u003c/i>, and onstage Friday at Outside Lands, a pansexual pool party unfolded between giant beach balls as Monáe luxuriated in each sensual lyric of “Lipstick Lover” and “Water Slide.” Monáe and their dancers donned matching bodysuits and swim caps, while the horn section performed with towels wrapped around their waists. Despite the gimmicks, it was really Monáe’s strong, resounding vocals that impressed the most. During a warm moment of appreciation, they reflected to the audience: “To be Black, to be queer, to be nonbinary and have family like you is a blessing.” \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933047\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cuco\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Washed-out psychedelia, cumbia and lovers rock swirled during Cuco’s Friday afternoon set as the singer slowly revealed his multi-instrumentalist status. Two trumpet solos, a guitar solo and lots of tinkering on his Yamaha synth showed him in a playful and inspired mood. At the end of the set, he confessed, “Last time I was out here I was dealing with a lot of substance abuse issues, and now I’m here a year sober.” The audience met him with warm, encouraging applause. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More photos from Outside Lands:\u003c/h2>\n\u003cfigure id=\"attachment_13933044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933044\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">La Doña at the Lands End VIP viewing area on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933042\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex G performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933061\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933054\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933050\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano at Outside Land’s new open-air dance club Dolores’ during the Oasis Princess dance party. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tito Soto performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933083\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manila Grey perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lil Yachty performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA headline Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance at the Hard French QUICHE party on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933123\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "castro-theatre-film-festivals-rental-costs",
"title": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain",
"publishDate": 1691713578,
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"headTitle": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED",
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"content": "\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "turf-dancing-oakland-street-dance",
"title": "How Turf Dancing Came to Define Oakland Street Dance",
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"headTitle": "How Turf Dancing Came to Define Oakland Street Dance | KQED",
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"content": "\u003cfigure id=\"attachment_13932907\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary_6.jpg\" alt=\"Garion Morgan, a.k.a. Icecold 3000 of the Turf Fienz, dancing near the Port of Oakland in 2019.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13932907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Garion Morgan, a.k.a. Icecold 3000 of the Turf Fienz, dancing near the Port of Oakland in 2019. In recent years, turf dancing has undergone a revival, extending and building upon its hyphy-era origins. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t was a hard-fought dance battle in front of a live audience, with some of the region’s top turfers competing against an array of styles, from popping to fusion. After a rained-out Oakland contest, Red Bull’s Dance Your Style had reconvened in San Jose, and turf dancing — the Oakland-originated street dance form integral to Bay Area hyphy culture — took center stage. \u003c/p>\n\u003cp>When the smoke cleared, Oakland’s rising star Hector “Intricate” Ascencio stood alone at the top. With a flurry of Wing Chun-esque hand motions, floor drops, pantomimed gut punches, and expressive footwork, Intricate earned the right to compete in the National Finals, held in Chicago on May 20. Though he didn’t win, owing to tough competition and a song selected by the DJ that wasn’t especially turf-friendly (Ghost Town DJ’s “My Boo”), he represented the Bay to the fullest.\u003c/p>\n\u003cp>“Just winning for Oakland and in the Bay Area in general means so much, because we deserve to get put on the map,” Intricate said, a few days after his victory. “It’s a very rich culture in the Bay Area that obviously needs to be exposed more to the nation and to the world.”\u003c/p>\n\u003cfigure id=\"attachment_13932912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hector ‘Intricate’ Ascencio wins the Red Bull Dance Your Style competition on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, turf dancing has undergone a resurgence, returning to local repute and national stages in the past few years. For the second year in a row, Red Bull’s Dance Your Style has chosen Oakland as one of its host cities around the globe. Platforms like TikTok have introduced turfing to a new generation, and this month, E-40 — who included turfing in his landmark “Tell Me When to Go” video — brought back turf dancers for his newest video, “\u003ca href=\"https://www.youtube.com/watch?v=HW1Xxbalqh4\">The Bay\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Red Bull has also named Turf Inc. founder Johnny “Johnny 5” Lopez a cultural ambassador, and spotlighted Oakland turfer \u003ca href=\"https://www.youtube.com/watch?v=pcsqyp85HmY\">Yung Phil in a mini-documentary\u003c/a>. In 2020, GoDaddy produced a \u003ca href=\"https://www.youtube.com/watch?v=N8IDHKWepzQ\">mini-doc on turfing\u003c/a>, featuring Ice Cold 3000 and T7, founding members of iconic Oakland crew the Turf Feinz. And this year, the Oakland Museum of California featured turf dancing as part of its 2023 Black History Month events. \u003c/p>\n\u003cp>With renewed attention on the culture coming from multiple sources, “I feel like turf dancing is at a renaissance point right now,” says Intricate. “Actually, it’s at a point of reviving, and keeping itself alive. The dancers in my generation, right now, are bringing it back to the people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x2rYCB-DszM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>Street Origins and Early Battles\u003c/h2>\n\u003cp>Oakland’s street dance culture started with boogaloo in the 1960s, and predates the emergence of hip-hop dance by almost a decade. And yet its influential history – which includes turfing – is frequently overlooked. Media reports have mistakenly pegged turf dancing as a derivative of breakdancing, and until recently, many in the dance community assumed popping originated in Los Angeles, not Oakland. \u003c/p>\n\u003cp>The exact origin point of turf dancing is unknown. Some accounts date it back as far as the mid-’90s, as an improvisational, informal neighborhood dance that started in West Oakland’s Lower Bottoms and adapted stylistically as it spread to other parts of the city. But its cultural roots date back to the boogaloo era, which introduced now-ubiquitous moves like creeping, tutting, ticking, animation, and “the Oakland hit” (which became known as “the pop” when it traveled down to Southern California during the 1970s).\u003c/p>\n\u003cp>[aside postID='arts_13923938']Turfing added its own moves and aesthetic of expressive storytelling to the boogaloo blueprint – free-form Brookfield glides, buoyant West Oakland bounces, backflips, ballet-like jetes and \u003cem>en pointe\u003c/em> maneuvers, as well as “bone-breaking,” or disarticulation of limbs. It was more balanced than boogaloo in terms of upper- and lower-body movements, and typically didn’t incorporate breaking’s established footwork routines or power moves like windmills or headspins.\u003c/p>\n\u003cp>Originally, turfing was known as gigging, and was practiced by inner-city youth and even some adults as a form or creative expression — and a way to resolve hood disputes without resorting to violence. \u003c/p>\n\u003cfigure id=\"attachment_13932910\" class=\"wp-caption aligncenter\" style=\"max-width: 2264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1408863528.jpg\" alt=\"\" width=\"2264\" height=\"2336\" class=\"size-full wp-image-13932910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528.jpg 2264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1020x1052.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1489x1536.jpg 1489w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1985x2048.jpg 1985w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1920x1981.jpg 1920w\" sizes=\"(max-width: 2264px) 100vw, 2264px\">\u003cfigcaption class=\"wp-caption-text\">Jeriel Bey teaches dance techniques to Toby Hall at Berkeley High School in 2007. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2000, Jeriel Bey, a dancer, educator and promoter originally from L.A., moved to West Oakland, next door to the Wood Street studio of musician D’Wayne Wiggins’ (of Tony Toni Toné). Bey had linked up with Richmond dance group Housing Authority, and was taking classes at Oakland’s Alice Arts Center. One day he was in his driveway practicing his steps when a neighborhood youth, Demetrius Zigler, rode up on his bike. \u003c/p>\n\u003cp>“Man, I’ll chew you,” Bey recalls Zigler saying, adding confidently. “I be fucking with it.” As the two began to show off their dance moves, Zigler danced in a way Bey had never seen. “What is that?” Bey said. “Man, I don’t know, I just be gigging,” Zigler replied. \u003c/p>\n\u003cp>“That turned into an everyday thing,” Bey says. “He’d come by the house and we’d be dancing.” Soon Zigler would bring other neighborhood kids to Bey, and they would all jump into Wiggins’ minivan and dance at birthday parties. Bey saw the potential to market the dance. But first it needed a name.\u003c/p>\n\u003cp>[aside postID='arts_13891300']Bey went to visit his cousin in San Diego, and that’s when the lightbulb moment happened. “I was like, I got these kids that come to my apartment all the time. They all be dancing. They say they be fucking with it, but I cant really market that. It’s like turf dancing, they all be turfing, but I can’t sell that either, because white people gonna look at that and think it’s some kind of gang shit. So I came up with the acronym Taking Up Room on the Floor. When I came back to Oakland, I said, look, when people ask what we’re doing next time we do these birthday parties, we tell them we’re turf dancing, and it stands for taking up room on the floor. The name kinda stuck.”\u003c/p>\n\u003cp>Bey organized the first turf dance competition in late 2004, held at Laney College. “For the first hour, no one showed up,” he recalls. “Maybe like 30 minutes later, two thousand people hit the corner. Boom! I didn’t have no security or nothing. I had kids from South Central L.A., some krump dancers, and I had some kids from West Oakland, some turf dancers, you know what I’m saying?”\u003c/p>\n\u003cp>A month later, the wide-release movie \u003cem>Rize\u003c/em> featured some L.A. dancers from the Laney battle. Word on the streets was “some little kids from West Oakland beat the kids from this movie,” Bey says with a laugh. “After that it just kind of took off from there.”\u003c/p>\n\u003cfigure id=\"attachment_13932911\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1408863565-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1995\" class=\"size-full wp-image-13932911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-1020x795.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-1536x1197.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-2048x1596.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-1920x1496.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jeriel Bey teaches turf dance techniques to students at Berkeley High School in 2007. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2005, Bey was preparing for a rehearsal when he got the news that Zigler had been shot and killed right down the street. In his honor, Bey says, “I made a promise to myself that no matter what happens, I’m gonna keep promoting the culture.” He continued to organize street dance battles between turfers and dancers from Los Angeles and Memphis. \u003c/p>\n\u003cp>“City-to-city hood dance battles is what I’m known for,” Bey says, noting that his events were “something different” from what had been done before. “I didn’t come up with the \u003cem>dance\u003c/em> turf dancing, but I coined the term, to give it some life and bring attention to it.”\u003c/p>\n\u003cp>Turf dancing, he says, “is a way of telling a story. It’s an attitude.”\u003c/p>\n\u003cp>At that time, he says, “There wasn’t really a lot of people doing what I was doing in the community.” Back in the day, he continues, “there was the Black Resurgents, Gentlemen of Production, Demons of the Mind – a lot of the founding fathers of the Bay Area, strutters, robotters, breakdancers – set the precedent for us. So now we’re able to look at that, and add to it.”\u003c/p>\n\u003cfigure id=\"attachment_13932906\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh competes at the Red Bull Dance Your Style event on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bey eventually formed the pioneering turf dance crew the Architectz with the kids from his West Oakland neighborhood, and used his music industry connections to get the crew featured in the original video for Keak Da Sneak’s iconic song “Super Hyphy.” (Bey himself is the one saying “fa sho” and “fa sheezy” on the song’s hook.)\u003c/p>\n\u003cp>By that time, some older turf dancers had already appeared in music videos by Baby Bash and the Federation, and as the hyphy movement unfolded, turfing became its unofficial dance. As a street-bred phenomenon, turf dancing wasn’t initially regarded as a legitimate art form; Bey had championed the dance as part of a community health initiative, but that view wasn’t shared by the city of Oakland.\u003c/p>\n\u003cp>“We were a little too street for the Art & Soul festival,” he says. \u003c/p>\n\u003ch2>The Hyphy Explosion Meets the Youth Center\u003c/h2>\n\u003cp>Other institutions, however, welcomed turfers. In 2005, Bey recalls organizing turf dance battles at East Oakland youth development center Youth UpRising, a one-stop shop that offered wraparound services including music and video production, academic preparedness, job training, teenage pregnancy services and mental health counseling.\u003c/p>\n\u003cp>Bey remembers Wiggins telling him about the center and suggesting he do events there. So he went down to meet with the staff and said, “If I throw battles here, a whole lot of kids are going to show up.” Which was exactly what the center – part of a multi-agency initiative aimed at curbing violence and improving academic performance – wanted to happen.\u003c/p>\n\u003cfigure id=\"attachment_13932915\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1441\" class=\"size-full wp-image-13932915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-2048x1153.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-1920x1081.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Zel Koozi, Tee Seven, Yung Phil and Icecold 3000 of the Turf Fienz in 2019. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacky Johnson, currently Digital Services and Events Manager for Oakland non-profit Urban Peace Movement, recalls, “When I started at Youth UpRising, we were trying to figure out how we were going to get young people into the center. We had this big 25,000-square-foot space, programming was free, it was for 13- to 24-year-olds, and we were a very small staff.”\u003c/p>\n\u003cp>The turf battles started out small and informal, but soon ballooned to hundreds of kids, Johnson recalls. The Architectz were involved early on, as were offshoots like the Animaniaks. “Some of the Turf Fienz were affiliated with a group called the Goon Stars, and there were dancers in our battles that weren’t affiliated with any of the groups.” \u003c/p>\n\u003cp>Youth UpRising also hosted turf dancing classes and, combined with the ongoing battles, shifted turfing culture’s epicenter from West Oakland to the Eastside. According to Johnson, “There definitely has always been a void for safe spaces that the culture can be celebrated and housed in. And I think that it was just a lot of energy around the center.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GZbaXdK8Js\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nAfter E-40’s representatives called Johnson to organize a music video shoot at the location, Bey was asked to choreograph turfers for what became the national hit “Tell Me When to Go.” Following this, the Architectz were featured in the Federation’s “18 Dummy” video and went on tour with E-40. Bey later choreographed music videos for artists like Snoop Dogg, while the Amimaniaks added vocals to DJ Shadow’s 2006 single “Turf Dancing” (which, curiously, did not have a video).\u003c/p>\n\u003cp>Now 27, Intricate began turf dancing at 12 years old. He was in the sixth grade when a friend, Raymond Silviera, whose turf name is Nemesis, showed him some moves in the school library. Later, they watched turfing videos on YouTube. “It got addictive, like a good drug,” he says. \u003c/p>\n\u003cp>Intricate recalls turf dancing’s prominence in the hyphy movement. “It was just such a big inspiration in the Bay Area and the culture, within the turf dancing (community), it was just beautiful. It was the main dance for that movement, you know, just being hyphy, going dumb, going stupid, going to the sideshows in Oakland, and just going crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13932905\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hector ‘Intricate’ Ascencio competes at the Red Bull Dance Your Style event on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jesus “Zeus” El, a former member of the Architectz and the Anamaniaks, has been turf dancing since the age of 10. Now 35, he says turfing is “something that you didn’t even have to really be a dancer to know how to interpret. It’s just part of the culture and atmosphere. I got involved just being in West Oakland in the neighborhood.”\u003c/p>\n\u003cp>Turf dance, he says, is “definitely a style with its own swag, it kind of encompasses Bay Area type of energy, the culture we all share already. It’s that energy mixed with animation and popping and different breakdown moves that we’ve had, as our foundational moves. But mainly, it’s a feeling. Like in the hyphy era, the feeling we had around rebelliousness and self-expression and movement and creativity.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bD42PYx5hdM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nFor Zeus, turf dancing is a way to tell stories, but also a spiritual practice. When he’s dancing, he says, he forgets about stress and trauma, and enters a zone of blissful joy. He’s able to communicate non-verbally through movement and miming with unhoused people on his block; he fondly remembers the rapport he shared with his former neighbor \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi of Zion-I\u003c/a>, who used to watch the turfer freestyle dance moves from outside his window.\u003c/p>\n\u003cp>Turf dancing’s raw energy often comes from deeply-rooted emotions. In “Liquid Flow,” a 2019 mini-documentary produced for the Oakland Museum of California (OMCA) featuring the Turf Fienz and directed by YAK Films, Darrell “D-Real” Amstead says, “Oakland is a city of artists. Layer on layer. That pressure, the need to express yourself? It’s everywhere. Homicide. Housing. Money flowing out but never in. Somebody you know dead. Some people say all this, that we do now, came from all that.”\u003c/p>\n\u003ch2>A Viral Moment, Born From Grief\u003c/h2>\n\u003cp>Yoram Savion, founder and principal of YAK Films, was born in France but grew up in East Oakland and attended Castlemont High School. In 2006, while an undergrad at UC Berkeley, working as a teacher at San Quentin State Prison and a multimedia instructor at Youth UpRising, he shifted from digital photography to video production. In 2008, he began documenting turf dancers as part of OMCA’s “Cool Remixed” project. This led to him befriending the Turf Feinz, and to one of turf dancing’s most high-visibility moments, filmed on a Monday morning on the corner of MacArthur and 90th.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JQRRnAhmB58\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“RIP Rich D” is a dance suite in memory of Rich D., the brother of one of the dancers. “It was a rainy morning,” Savion says. “D-Real’s brother had just passed away in a car accident on MacArthur, and we all felt very emotional and needed to save some of those emotions.”\u003c/p>\n\u003cp>The video, sometimes known as “Dancing in the Rain,” is a haunting, poetic demonstration of street ballet. Shot handheld in a cinema verite style complete with cars passing by, the Turf Fienz met the moment with glides, pirouettes, head-to-toe animation, freezes, handspins, splits, reverse somersaults, backflips, and handstands – all set to a slow-rolling, hypnotic hip-hop beat by Yung FX, Erk tha Jerk & COOP.\u003c/p>\n\u003cp>[aside postID='arts_13924109']The video went viral on multiple online platforms, ultimately notching more than eight million views on YouTube alone. “That kind of made everything take off,” Savion says. \u003c/p>\n\u003cp>For many, “RIP Rich D” was their first exposure to turf dancing. Many of the views, Savion says, came from outside the United States. “I heard Jay-Z being interviewed by a famous DJ in London at the time, and he brought it up as a cultural reference,” Savion says. “Pretty much everybody in England has heard or seen it, and it was in an exhibit at the Oakland Museum that retraced the history of hyphy or turf. It’s often included when people are doing, you know, an homage to the Oakland cultural legacy.”\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13932929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath its Bay Area traditions was no small amount of trauma. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, Savion emphasizes, “it’s very important to remember where that video came from.”\u003c/p>\n\u003cp>It’s not just entertainment for entertainment’s sake, he says. “The video came from loss and grief, and a celebration of life. And so its purpose is very deep and meaningful for us who were involved in making it. The music is from the Town. We made it right there in Oakland. All the dancers are from Oakland.” The emotion in the dancing is immediately felt, Savion adds. “It also speaks on a lot of the things we were talking about at the time – criminalization and mass incarceration.”\u003c/p>\n\u003cp>Savion went on to make dozens of videos of the Turf Fienz and other dancers with the same stripped-down aesthetic. By going viral online, he bypassed many of the media gatekeepers who had overlooked Oakland in the past, while opening doors to others. “At the time,” Savion says, “we really felt there was an alternative to the mainstream. It was very noticeable to us when these videos started going viral and we got more fame online. A lot of the local news stations hit us; we even were on ABC’s \u003cem>Nightline\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K_Vc4HXqM8E\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThese interactions, though, revealed a sociocultural dynamic not uncommon in mainstream news reporting: inherent bias. “To see the reactions of these TV crews when they would come to the neighborhood — these are places that we were at every day, with cameras in hand. And I never felt threatened or in danger in that way. And to see how their news crews were reacting, you could tell that there was this real sense of fear.”\u003c/p>\n\u003cp>To Savion, the hood documentarian and former prison educator, “That fear is something that comes through in a lot of the social interactions with people in neighborhoods that have been overly policed, or where people have been sent to mass incarceration in disproportionate rates,” leading to what he terms “a changing of the culture.”\u003c/p>\n\u003cp>The politics of gentrification aside, YAK Films helped make inner-city Oakland culture attractive to mainstream media outlets, while also creating opportunities for crews like the Turf Fienz and dancers like Zeus to travel and to work overseas. Perhaps most importantly, this exposure created renewed interest in turf dancing among the younger generation.\u003c/p>\n\u003cp>This became especially critical as hyphy’s hot streak cooled off in the 2010s. \u003c/p>\n\u003cfigure id=\"attachment_13932916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Oakland_Turfing_Still_3.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13932916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yung Phil dances at MacArthur BART in 2019. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>For Some, a Bittersweet Return to the Limelight \u003c/h2>\n\u003cp>In 2012, Turf Fienz member Johnny “Johnny 5” Lopez founded his own production company, Turf Inc., and began producing turf battles in conjunction with event producer Sarah Sexton’s Oakland Indie Mayhem. The events soon widened to include boogaloo demonstrations by Oakland dance OGs and “all-styles” battles open to poppers, krumpers, and breakers.\u003c/p>\n\u003cp>In the mid-2010s, Turf Inc. began producing events on its own and organized a turf dance battle produced by YAK Films and held during the Art & Soul festival in Oakland’s Ogawa Plaza – keeping the dance visible, engaging veteran dancers like iDummy and Krow the God, and drawing a rapt audience of kids, teenagers and young adults. \u003c/p>\n\u003cp>That wave of momentum has continued through the present day, as Turf Inc. has grown into the Bay Area turf dance production company of record, producing larger and larger events and eventually getting Red Bull to come on board.\u003c/p>\n\u003cfigure id=\"attachment_13932914\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Johnny 5 of Turf Inc. dances on the sidewalk in San Jose on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez was first exposed to turfing as a youngster in the 2000s during a sideshow in his East Oakland neighborhood. Now he’s one of the culture’s most prominent faces, having been involved with music videos for Kanye West, Kendrick Lamar and Britney Spears. In the past year, he’s hosted an international delegation of Oakland turfers traveling to South America; and produced local events at San Francisco’s Westfield Center and Oakland nightclubs Complex and the New Parish.\u003c/p>\n\u003cp>Possessed of an ostentatious sense of style – he’s been known to sport a slicked-up flattop in various shades of neon – with acrobatic moves to match, Lopez has at times turf danced while wearing cowboy boots, a maneuver not recommended for folks at home.\u003c/p>\n\u003cp>[aside postID='arts_13924126']Two things he doesn’t lack are confidence and a belief in himself. As he says, “Almost every major thing that I’ve done in my life, I manifested.”\u003c/p>\n\u003cp>Dance Your Style debuted in Oakland in 2022; in the process, Lopez became a producer and consultant for Red Bull. The first event was a pilot, “but I knew it was going to work.” Afterward, he says, “the whole Global (Red Bull network) was talking about the Oakland event, and that’s how they got more information about hyphy and boogaloo.” \u003c/p>\n\u003cfigure id=\"attachment_13932918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield at Guildhouse in San Jose on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Intricate, the 2023 Oakland champion, opportunities abound, and being on a big stage only makes him want to compete more. “It could be a very well-known dancer with a big name, and I know a lot of dancers outside of our community who tend to just submit to that dancer. I love turf dancers because if we see even a bigger name against us, we’re going to go for it.”\u003c/p>\n\u003cp>Turf dancing’s future appears to be so bright, it’ll need to keep its stunna shades on. But to some veterans, the shinier lights offer bittersweet feelings and cautionary tales.\u003c/p>\n\u003cp>Savion readily admits he’s more into the artistically pure aspect of the culture. He’s discovered he doesn’t really enjoy producing events, except for the annual Life is Living festival, held at Oakland’s DeFremery Park. He views big corporate sponsors with a bit of a side-eye: in his estimation, they see the dance as a product to be marketed, and their involvement can dilute the grassroots aspects of the culture without creating true sustainability for its practitioners. \u003c/p>\n\u003cp>[aside postID='news_11954252']For Zeus, who built a side career as an \u003ca href=\"https://www.kqed.org/arts/13832672/remembering-a-warriors-superhero-on-and-off-the-court\">acrobatic dunker for the Golden State Warriors\u003c/a> and other NBA teams, and now works with restorative justice youth programs, turf dancing is “sacred.” Despite being seen by younger turfers as a legendary figure, and still occasionally getting flown to cities like L.A. to perform, he likens the current state of turfing to an ex-girlfriend: “You still love her, but you gonna give her some static.” \u003c/p>\n\u003cp>Apologizing during a long interview – the recent death of his brother weighing heavily on his mind – he collects his thoughts for a moment of clarity: “What turf dancing means to me is the ability to express yourself. Without worry, without judgment, and you’re able to create the pictures and paint the pictures that you like the most. Good or bad.”\u003c/p>\n\u003cp>Bey, the originator of the acronym T.U.R.F., worries he will be forgotten by history. He admits to making mistakes as a younger person, and blames “Oakland politics” for his work not being as accepted or revered as it deserves. Although born in L.A., he reiterates that he was back and forth between the two regions in his youth; the “not from Oakland” tag has left him admittedly hurt, although he refuses to be bitter. \u003c/p>\n\u003cp>“For me, the brand turfing was something I coined, something I wanted to protect. Because of a student who inspired me, who got murdered many years ago. And now, so much has happened.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Hyphy videos, youth centers and street battles all propelled Oakland's 'street ballet' of turfing, now known around the world. ",
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"title": "How Turf Dancing Came to Define Oakland Street Dance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932907\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary_6.jpg\" alt=\"Garion Morgan, a.k.a. Icecold 3000 of the Turf Fienz, dancing near the Port of Oakland in 2019.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13932907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary_6-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Garion Morgan, a.k.a. Icecold 3000 of the Turf Fienz, dancing near the Port of Oakland in 2019. In recent years, turf dancing has undergone a revival, extending and building upon its hyphy-era origins. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was a hard-fought dance battle in front of a live audience, with some of the region’s top turfers competing against an array of styles, from popping to fusion. After a rained-out Oakland contest, Red Bull’s Dance Your Style had reconvened in San Jose, and turf dancing — the Oakland-originated street dance form integral to Bay Area hyphy culture — took center stage. \u003c/p>\n\u003cp>When the smoke cleared, Oakland’s rising star Hector “Intricate” Ascencio stood alone at the top. With a flurry of Wing Chun-esque hand motions, floor drops, pantomimed gut punches, and expressive footwork, Intricate earned the right to compete in the National Finals, held in Chicago on May 20. Though he didn’t win, owing to tough competition and a song selected by the DJ that wasn’t especially turf-friendly (Ghost Town DJ’s “My Boo”), he represented the Bay to the fullest.\u003c/p>\n\u003cp>“Just winning for Oakland and in the Bay Area in general means so much, because we deserve to get put on the map,” Intricate said, a few days after his victory. “It’s a very rich culture in the Bay Area that obviously needs to be exposed more to the nation and to the world.”\u003c/p>\n\u003cfigure id=\"attachment_13932912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Hector-Intricate-Ascencio-wins-the-Red-Bull-Dance-Your-Style-competition-on-Friday-May-12-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hector ‘Intricate’ Ascencio wins the Red Bull Dance Your Style competition on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, turf dancing has undergone a resurgence, returning to local repute and national stages in the past few years. For the second year in a row, Red Bull’s Dance Your Style has chosen Oakland as one of its host cities around the globe. Platforms like TikTok have introduced turfing to a new generation, and this month, E-40 — who included turfing in his landmark “Tell Me When to Go” video — brought back turf dancers for his newest video, “\u003ca href=\"https://www.youtube.com/watch?v=HW1Xxbalqh4\">The Bay\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Red Bull has also named Turf Inc. founder Johnny “Johnny 5” Lopez a cultural ambassador, and spotlighted Oakland turfer \u003ca href=\"https://www.youtube.com/watch?v=pcsqyp85HmY\">Yung Phil in a mini-documentary\u003c/a>. In 2020, GoDaddy produced a \u003ca href=\"https://www.youtube.com/watch?v=N8IDHKWepzQ\">mini-doc on turfing\u003c/a>, featuring Ice Cold 3000 and T7, founding members of iconic Oakland crew the Turf Feinz. And this year, the Oakland Museum of California featured turf dancing as part of its 2023 Black History Month events. \u003c/p>\n\u003cp>With renewed attention on the culture coming from multiple sources, “I feel like turf dancing is at a renaissance point right now,” says Intricate. “Actually, it’s at a point of reviving, and keeping itself alive. The dancers in my generation, right now, are bringing it back to the people.”\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/x2rYCB-DszM'\n title='//www.youtube.com/embed/x2rYCB-DszM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>Street Origins and Early Battles\u003c/h2>\n\u003cp>Oakland’s street dance culture started with boogaloo in the 1960s, and predates the emergence of hip-hop dance by almost a decade. And yet its influential history – which includes turfing – is frequently overlooked. Media reports have mistakenly pegged turf dancing as a derivative of breakdancing, and until recently, many in the dance community assumed popping originated in Los Angeles, not Oakland. \u003c/p>\n\u003cp>The exact origin point of turf dancing is unknown. Some accounts date it back as far as the mid-’90s, as an improvisational, informal neighborhood dance that started in West Oakland’s Lower Bottoms and adapted stylistically as it spread to other parts of the city. But its cultural roots date back to the boogaloo era, which introduced now-ubiquitous moves like creeping, tutting, ticking, animation, and “the Oakland hit” (which became known as “the pop” when it traveled down to Southern California during the 1970s).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Turfing added its own moves and aesthetic of expressive storytelling to the boogaloo blueprint – free-form Brookfield glides, buoyant West Oakland bounces, backflips, ballet-like jetes and \u003cem>en pointe\u003c/em> maneuvers, as well as “bone-breaking,” or disarticulation of limbs. It was more balanced than boogaloo in terms of upper- and lower-body movements, and typically didn’t incorporate breaking’s established footwork routines or power moves like windmills or headspins.\u003c/p>\n\u003cp>Originally, turfing was known as gigging, and was practiced by inner-city youth and even some adults as a form or creative expression — and a way to resolve hood disputes without resorting to violence. \u003c/p>\n\u003cfigure id=\"attachment_13932910\" class=\"wp-caption aligncenter\" style=\"max-width: 2264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1408863528.jpg\" alt=\"\" width=\"2264\" height=\"2336\" class=\"size-full wp-image-13932910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528.jpg 2264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1020x1052.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1489x1536.jpg 1489w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1985x2048.jpg 1985w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863528-1920x1981.jpg 1920w\" sizes=\"(max-width: 2264px) 100vw, 2264px\">\u003cfigcaption class=\"wp-caption-text\">Jeriel Bey teaches dance techniques to Toby Hall at Berkeley High School in 2007. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2000, Jeriel Bey, a dancer, educator and promoter originally from L.A., moved to West Oakland, next door to the Wood Street studio of musician D’Wayne Wiggins’ (of Tony Toni Toné). Bey had linked up with Richmond dance group Housing Authority, and was taking classes at Oakland’s Alice Arts Center. One day he was in his driveway practicing his steps when a neighborhood youth, Demetrius Zigler, rode up on his bike. \u003c/p>\n\u003cp>“Man, I’ll chew you,” Bey recalls Zigler saying, adding confidently. “I be fucking with it.” As the two began to show off their dance moves, Zigler danced in a way Bey had never seen. “What is that?” Bey said. “Man, I don’t know, I just be gigging,” Zigler replied. \u003c/p>\n\u003cp>“That turned into an everyday thing,” Bey says. “He’d come by the house and we’d be dancing.” Soon Zigler would bring other neighborhood kids to Bey, and they would all jump into Wiggins’ minivan and dance at birthday parties. Bey saw the potential to market the dance. But first it needed a name.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bey went to visit his cousin in San Diego, and that’s when the lightbulb moment happened. “I was like, I got these kids that come to my apartment all the time. They all be dancing. They say they be fucking with it, but I cant really market that. It’s like turf dancing, they all be turfing, but I can’t sell that either, because white people gonna look at that and think it’s some kind of gang shit. So I came up with the acronym Taking Up Room on the Floor. When I came back to Oakland, I said, look, when people ask what we’re doing next time we do these birthday parties, we tell them we’re turf dancing, and it stands for taking up room on the floor. The name kinda stuck.”\u003c/p>\n\u003cp>Bey organized the first turf dance competition in late 2004, held at Laney College. “For the first hour, no one showed up,” he recalls. “Maybe like 30 minutes later, two thousand people hit the corner. Boom! I didn’t have no security or nothing. I had kids from South Central L.A., some krump dancers, and I had some kids from West Oakland, some turf dancers, you know what I’m saying?”\u003c/p>\n\u003cp>A month later, the wide-release movie \u003cem>Rize\u003c/em> featured some L.A. dancers from the Laney battle. Word on the streets was “some little kids from West Oakland beat the kids from this movie,” Bey says with a laugh. “After that it just kind of took off from there.”\u003c/p>\n\u003cfigure id=\"attachment_13932911\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1408863565-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1995\" class=\"size-full wp-image-13932911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-1020x795.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-1536x1197.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-2048x1596.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1408863565-1920x1496.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jeriel Bey teaches turf dance techniques to students at Berkeley High School in 2007. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2005, Bey was preparing for a rehearsal when he got the news that Zigler had been shot and killed right down the street. In his honor, Bey says, “I made a promise to myself that no matter what happens, I’m gonna keep promoting the culture.” He continued to organize street dance battles between turfers and dancers from Los Angeles and Memphis. \u003c/p>\n\u003cp>“City-to-city hood dance battles is what I’m known for,” Bey says, noting that his events were “something different” from what had been done before. “I didn’t come up with the \u003cem>dance\u003c/em> turf dancing, but I coined the term, to give it some life and bring attention to it.”\u003c/p>\n\u003cp>Turf dancing, he says, “is a way of telling a story. It’s an attitude.”\u003c/p>\n\u003cp>At that time, he says, “There wasn’t really a lot of people doing what I was doing in the community.” Back in the day, he continues, “there was the Black Resurgents, Gentlemen of Production, Demons of the Mind – a lot of the founding fathers of the Bay Area, strutters, robotters, breakdancers – set the precedent for us. So now we’re able to look at that, and add to it.”\u003c/p>\n\u003cfigure id=\"attachment_13932906\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dopey-Fresh-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh competes at the Red Bull Dance Your Style event on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bey eventually formed the pioneering turf dance crew the Architectz with the kids from his West Oakland neighborhood, and used his music industry connections to get the crew featured in the original video for Keak Da Sneak’s iconic song “Super Hyphy.” (Bey himself is the one saying “fa sho” and “fa sheezy” on the song’s hook.)\u003c/p>\n\u003cp>By that time, some older turf dancers had already appeared in music videos by Baby Bash and the Federation, and as the hyphy movement unfolded, turfing became its unofficial dance. As a street-bred phenomenon, turf dancing wasn’t initially regarded as a legitimate art form; Bey had championed the dance as part of a community health initiative, but that view wasn’t shared by the city of Oakland.\u003c/p>\n\u003cp>“We were a little too street for the Art & Soul festival,” he says. \u003c/p>\n\u003ch2>The Hyphy Explosion Meets the Youth Center\u003c/h2>\n\u003cp>Other institutions, however, welcomed turfers. In 2005, Bey recalls organizing turf dance battles at East Oakland youth development center Youth UpRising, a one-stop shop that offered wraparound services including music and video production, academic preparedness, job training, teenage pregnancy services and mental health counseling.\u003c/p>\n\u003cp>Bey remembers Wiggins telling him about the center and suggesting he do events there. So he went down to meet with the staff and said, “If I throw battles here, a whole lot of kids are going to show up.” Which was exactly what the center – part of a multi-agency initiative aimed at curbing violence and improving academic performance – wanted to happen.\u003c/p>\n\u003cfigure id=\"attachment_13932915\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1441\" class=\"size-full wp-image-13932915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-2048x1153.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_2-1920x1081.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Zel Koozi, Tee Seven, Yung Phil and Icecold 3000 of the Turf Fienz in 2019. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacky Johnson, currently Digital Services and Events Manager for Oakland non-profit Urban Peace Movement, recalls, “When I started at Youth UpRising, we were trying to figure out how we were going to get young people into the center. We had this big 25,000-square-foot space, programming was free, it was for 13- to 24-year-olds, and we were a very small staff.”\u003c/p>\n\u003cp>The turf battles started out small and informal, but soon ballooned to hundreds of kids, Johnson recalls. The Architectz were involved early on, as were offshoots like the Animaniaks. “Some of the Turf Fienz were affiliated with a group called the Goon Stars, and there were dancers in our battles that weren’t affiliated with any of the groups.” \u003c/p>\n\u003cp>Youth UpRising also hosted turf dancing classes and, combined with the ongoing battles, shifted turfing culture’s epicenter from West Oakland to the Eastside. According to Johnson, “There definitely has always been a void for safe spaces that the culture can be celebrated and housed in. And I think that it was just a lot of energy around the center.”\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/2GZbaXdK8Js'\n title='//www.youtube.com/embed/2GZbaXdK8Js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nAfter E-40’s representatives called Johnson to organize a music video shoot at the location, Bey was asked to choreograph turfers for what became the national hit “Tell Me When to Go.” Following this, the Architectz were featured in the Federation’s “18 Dummy” video and went on tour with E-40. Bey later choreographed music videos for artists like Snoop Dogg, while the Amimaniaks added vocals to DJ Shadow’s 2006 single “Turf Dancing” (which, curiously, did not have a video).\u003c/p>\n\u003cp>Now 27, Intricate began turf dancing at 12 years old. He was in the sixth grade when a friend, Raymond Silviera, whose turf name is Nemesis, showed him some moves in the school library. Later, they watched turfing videos on YouTube. “It got addictive, like a good drug,” he says. \u003c/p>\n\u003cp>Intricate recalls turf dancing’s prominence in the hyphy movement. “It was just such a big inspiration in the Bay Area and the culture, within the turf dancing (community), it was just beautiful. It was the main dance for that movement, you know, just being hyphy, going dumb, going stupid, going to the sideshows in Oakland, and just going crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13932905\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Intricate-competes-at-the-Red-Bull-Dance-Your-Style-event-on-Friday-May-12-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hector ‘Intricate’ Ascencio competes at the Red Bull Dance Your Style event on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jesus “Zeus” El, a former member of the Architectz and the Anamaniaks, has been turf dancing since the age of 10. Now 35, he says turfing is “something that you didn’t even have to really be a dancer to know how to interpret. It’s just part of the culture and atmosphere. I got involved just being in West Oakland in the neighborhood.”\u003c/p>\n\u003cp>Turf dance, he says, is “definitely a style with its own swag, it kind of encompasses Bay Area type of energy, the culture we all share already. It’s that energy mixed with animation and popping and different breakdown moves that we’ve had, as our foundational moves. But mainly, it’s a feeling. Like in the hyphy era, the feeling we had around rebelliousness and self-expression and movement and creativity.”\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/bD42PYx5hdM'\n title='//www.youtube.com/embed/bD42PYx5hdM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nFor Zeus, turf dancing is a way to tell stories, but also a spiritual practice. When he’s dancing, he says, he forgets about stress and trauma, and enters a zone of blissful joy. He’s able to communicate non-verbally through movement and miming with unhoused people on his block; he fondly remembers the rapport he shared with his former neighbor \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi of Zion-I\u003c/a>, who used to watch the turfer freestyle dance moves from outside his window.\u003c/p>\n\u003cp>Turf dancing’s raw energy often comes from deeply-rooted emotions. In “Liquid Flow,” a 2019 mini-documentary produced for the Oakland Museum of California (OMCA) featuring the Turf Fienz and directed by YAK Films, Darrell “D-Real” Amstead says, “Oakland is a city of artists. Layer on layer. That pressure, the need to express yourself? It’s everywhere. Homicide. Housing. Money flowing out but never in. Somebody you know dead. Some people say all this, that we do now, came from all that.”\u003c/p>\n\u003ch2>A Viral Moment, Born From Grief\u003c/h2>\n\u003cp>Yoram Savion, founder and principal of YAK Films, was born in France but grew up in East Oakland and attended Castlemont High School. In 2006, while an undergrad at UC Berkeley, working as a teacher at San Quentin State Prison and a multimedia instructor at Youth UpRising, he shifted from digital photography to video production. In 2008, he began documenting turf dancers as part of OMCA’s “Cool Remixed” project. This led to him befriending the Turf Feinz, and to one of turf dancing’s most high-visibility moments, filmed on a Monday morning on the corner of MacArthur and 90th.\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/JQRRnAhmB58'\n title='//www.youtube.com/embed/JQRRnAhmB58'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“RIP Rich D” is a dance suite in memory of Rich D., the brother of one of the dancers. “It was a rainy morning,” Savion says. “D-Real’s brother had just passed away in a car accident on MacArthur, and we all felt very emotional and needed to save some of those emotions.”\u003c/p>\n\u003cp>The video, sometimes known as “Dancing in the Rain,” is a haunting, poetic demonstration of street ballet. Shot handheld in a cinema verite style complete with cars passing by, the Turf Fienz met the moment with glides, pirouettes, head-to-toe animation, freezes, handspins, splits, reverse somersaults, backflips, and handstands – all set to a slow-rolling, hypnotic hip-hop beat by Yung FX, Erk tha Jerk & COOP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The video went viral on multiple online platforms, ultimately notching more than eight million views on YouTube alone. “That kind of made everything take off,” Savion says. \u003c/p>\n\u003cp>For many, “RIP Rich D” was their first exposure to turf dancing. Many of the views, Savion says, came from outside the United States. “I heard Jay-Z being interviewed by a famous DJ in London at the time, and he brought it up as a cultural reference,” Savion says. “Pretty much everybody in England has heard or seen it, and it was in an exhibit at the Oakland Museum that retraced the history of hyphy or turf. It’s often included when people are doing, you know, an homage to the Oakland cultural legacy.”\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13932929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath its Bay Area traditions was no small amount of trauma. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, Savion emphasizes, “it’s very important to remember where that video came from.”\u003c/p>\n\u003cp>It’s not just entertainment for entertainment’s sake, he says. “The video came from loss and grief, and a celebration of life. And so its purpose is very deep and meaningful for us who were involved in making it. The music is from the Town. We made it right there in Oakland. All the dancers are from Oakland.” The emotion in the dancing is immediately felt, Savion adds. “It also speaks on a lot of the things we were talking about at the time – criminalization and mass incarceration.”\u003c/p>\n\u003cp>Savion went on to make dozens of videos of the Turf Fienz and other dancers with the same stripped-down aesthetic. By going viral online, he bypassed many of the media gatekeepers who had overlooked Oakland in the past, while opening doors to others. “At the time,” Savion says, “we really felt there was an alternative to the mainstream. It was very noticeable to us when these videos started going viral and we got more fame online. A lot of the local news stations hit us; we even were on ABC’s \u003cem>Nightline\u003c/em>.”\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/K_Vc4HXqM8E'\n title='//www.youtube.com/embed/K_Vc4HXqM8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThese interactions, though, revealed a sociocultural dynamic not uncommon in mainstream news reporting: inherent bias. “To see the reactions of these TV crews when they would come to the neighborhood — these are places that we were at every day, with cameras in hand. And I never felt threatened or in danger in that way. And to see how their news crews were reacting, you could tell that there was this real sense of fear.”\u003c/p>\n\u003cp>To Savion, the hood documentarian and former prison educator, “That fear is something that comes through in a lot of the social interactions with people in neighborhoods that have been overly policed, or where people have been sent to mass incarceration in disproportionate rates,” leading to what he terms “a changing of the culture.”\u003c/p>\n\u003cp>The politics of gentrification aside, YAK Films helped make inner-city Oakland culture attractive to mainstream media outlets, while also creating opportunities for crews like the Turf Fienz and dancers like Zeus to travel and to work overseas. Perhaps most importantly, this exposure created renewed interest in turf dancing among the younger generation.\u003c/p>\n\u003cp>This became especially critical as hyphy’s hot streak cooled off in the 2010s. \u003c/p>\n\u003cfigure id=\"attachment_13932916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Oakland_Turfing_Still_3.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13932916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Oakland_Turfing_Still_3-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yung Phil dances at MacArthur BART in 2019. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>For Some, a Bittersweet Return to the Limelight \u003c/h2>\n\u003cp>In 2012, Turf Fienz member Johnny “Johnny 5” Lopez founded his own production company, Turf Inc., and began producing turf battles in conjunction with event producer Sarah Sexton’s Oakland Indie Mayhem. The events soon widened to include boogaloo demonstrations by Oakland dance OGs and “all-styles” battles open to poppers, krumpers, and breakers.\u003c/p>\n\u003cp>In the mid-2010s, Turf Inc. began producing events on its own and organized a turf dance battle produced by YAK Films and held during the Art & Soul festival in Oakland’s Ogawa Plaza – keeping the dance visible, engaging veteran dancers like iDummy and Krow the God, and drawing a rapt audience of kids, teenagers and young adults. \u003c/p>\n\u003cp>That wave of momentum has continued through the present day, as Turf Inc. has grown into the Bay Area turf dance production company of record, producing larger and larger events and eventually getting Red Bull to come on board.\u003c/p>\n\u003cfigure id=\"attachment_13932914\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Johnny-5-dances-in-front-of-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Johnny 5 of Turf Inc. dances on the sidewalk in San Jose on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez was first exposed to turfing as a youngster in the 2000s during a sideshow in his East Oakland neighborhood. Now he’s one of the culture’s most prominent faces, having been involved with music videos for Kanye West, Kendrick Lamar and Britney Spears. In the past year, he’s hosted an international delegation of Oakland turfers traveling to South America; and produced local events at San Francisco’s Westfield Center and Oakland nightclubs Complex and the New Parish.\u003c/p>\n\u003cp>Possessed of an ostentatious sense of style – he’s been known to sport a slicked-up flattop in various shades of neon – with acrobatic moves to match, Lopez has at times turf danced while wearing cowboy boots, a maneuver not recommended for folks at home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two things he doesn’t lack are confidence and a belief in himself. As he says, “Almost every major thing that I’ve done in my life, I manifested.”\u003c/p>\n\u003cp>Dance Your Style debuted in Oakland in 2022; in the process, Lopez became a producer and consultant for Red Bull. The first event was a pilot, “but I knew it was going to work.” Afterward, he says, “the whole Global (Red Bull network) was talking about the Oakland event, and that’s how they got more information about hyphy and boogaloo.” \u003c/p>\n\u003cfigure id=\"attachment_13932918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13932918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Telice-Summerfield-at-Guildhouse-in-San-Jose-on-Friday-May-12-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield at Guildhouse in San Jose on Friday, May 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Intricate, the 2023 Oakland champion, opportunities abound, and being on a big stage only makes him want to compete more. “It could be a very well-known dancer with a big name, and I know a lot of dancers outside of our community who tend to just submit to that dancer. I love turf dancers because if we see even a bigger name against us, we’re going to go for it.”\u003c/p>\n\u003cp>Turf dancing’s future appears to be so bright, it’ll need to keep its stunna shades on. But to some veterans, the shinier lights offer bittersweet feelings and cautionary tales.\u003c/p>\n\u003cp>Savion readily admits he’s more into the artistically pure aspect of the culture. He’s discovered he doesn’t really enjoy producing events, except for the annual Life is Living festival, held at Oakland’s DeFremery Park. He views big corporate sponsors with a bit of a side-eye: in his estimation, they see the dance as a product to be marketed, and their involvement can dilute the grassroots aspects of the culture without creating true sustainability for its practitioners. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Zeus, who built a side career as an \u003ca href=\"https://www.kqed.org/arts/13832672/remembering-a-warriors-superhero-on-and-off-the-court\">acrobatic dunker for the Golden State Warriors\u003c/a> and other NBA teams, and now works with restorative justice youth programs, turf dancing is “sacred.” Despite being seen by younger turfers as a legendary figure, and still occasionally getting flown to cities like L.A. to perform, he likens the current state of turfing to an ex-girlfriend: “You still love her, but you gonna give her some static.” \u003c/p>\n\u003cp>Apologizing during a long interview – the recent death of his brother weighing heavily on his mind – he collects his thoughts for a moment of clarity: “What turf dancing means to me is the ability to express yourself. Without worry, without judgment, and you’re able to create the pictures and paint the pictures that you like the most. Good or bad.”\u003c/p>\n\u003cp>Bey, the originator of the acronym T.U.R.F., worries he will be forgotten by history. He admits to making mistakes as a younger person, and blames “Oakland politics” for his work not being as accepted or revered as it deserves. Although born in L.A., he reiterates that he was back and forth between the two regions in his youth; the “not from Oakland” tag has left him admittedly hurt, although he refuses to be bitter. \u003c/p>\n\u003cp>“For me, the brand turfing was something I coined, something I wanted to protect. Because of a student who inspired me, who got murdered many years ago. And now, so much has happened.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>William Friedkin, the Oscar winning director who became a top filmmaker in his 30s with the gripping \u003cem>The French Connection\u003c/em> and the horrifying \u003cem>The Exorcist\u003c/em> has died. He was 87.\u003c/p>\n\u003cp>Friedkin, who won the best director Oscar for \u003cem>The French Connection\u003c/em>, died Monday in Los Angeles, a representative from his office told The Associated Press. His wife, former studio head Sherry Lansing also confirmed to The Hollywood Reporter.\u003c/p>\n\u003cp>The movie, based on a true story, deals with the efforts of maverick New York City police Detective James “Popeye” Doyle to track down Frenchman Fernando Rey, mastermind of a large drug pipeline funneling heroin into the United States. It contains one of the most thrilling chase scenes ever filmed.\u003c/p>\n\u003cp>The movie also won Academy Awards for best picture, screenplay and film editing and led critics to hail Friedkin, then just 32, as a leading member of a new generation of filmmakers.\u003c/p>\n\u003cp>He followed with an even bigger blockbuster, \u003cem>The Exorcist\u003c/em>, based on William Peter Blatty’s best-selling novel about a 12-year-old girl possessed by the devil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation. It was so scary for its era that many viewers fled the theater before it was over and some reported being unable to sleep for days afterward.\u003c/p>\n\u003cp>It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.\u003c/p>\n\u003cp>With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.\u003c/p>\n\u003cp>Other film credits included \u003cem>To Live and Die in L.A.\u003c/em>, \u003cem>Cruising\u003c/em>, \u003cem>Rules of Engagement\u003c/em> and a TV remake of the classic play and Sidney Lumet movie \u003cem>12 Angry Men\u003c/em>. Friedkin also directed episodes for such TV shows as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rebel Highway\u003c/em> and \u003cem>CSI: Crime Scene Investigation\u003c/em>.\u003c/p>\n\u003cp>Born in Chicago on Aug. 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.\u003c/p>\n\u003cp>“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, Everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”\u003c/p>\n\u003cp>He moved from live shows to documentaries, making \u003cem>The People Versus Paul Crump\u003c/em> in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.\u003c/p>\n\u003cp>Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.\u003c/p>\n\u003cp>After working on such shows as \u003cem>The Bold Ones\u003c/em>, \u003cem>The Alfred Hitchcock Hour\u003c/em> and the documentary \u003cem>The Thin Blue Line\u003c/em>, Friedkin landed his first film, 1967’s \u003cem>Good Times\u003c/em>. It was a lighthearted musical romp headlined by the pop duo Sonny and Cher in what would be their only movie appearance together.\u003c/p>\n\u003cp>He followed that with \u003cem>The Night They Raided Minsky’s\u003c/em>, about backstage life at a burlesque theater, and \u003cem>The Birthday Party\u003c/em>, from a Harold Pinter play. He then gained critical attention with 1970’s \u003cem>The Boys in the Band\u003c/em>, a landmark film about gay men.\u003c/p>\n\u003cp>Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange.\u003c/p>\n\u003cp>In 1991 he married Paramount studio executive Sherry Lansing.\u003c/p>\n\u003cp>Friedkin has a new film on the way, \u003cem>The Caine Mutiny Court-Martial\u003c/em>, starring Kiefer Sutherland that’s set to premiere at the Venice Film Festival next month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The late Associated Press Correspondent Bob Thomas was the primary writer of this obituary.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation. It was so scary for its era that many viewers fled the theater before it was over and some reported being unable to sleep for days afterward.\u003c/p>\n\u003cp>It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.\u003c/p>\n\u003cp>With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.\u003c/p>\n\u003cp>Other film credits included \u003cem>To Live and Die in L.A.\u003c/em>, \u003cem>Cruising\u003c/em>, \u003cem>Rules of Engagement\u003c/em> and a TV remake of the classic play and Sidney Lumet movie \u003cem>12 Angry Men\u003c/em>. Friedkin also directed episodes for such TV shows as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rebel Highway\u003c/em> and \u003cem>CSI: Crime Scene Investigation\u003c/em>.\u003c/p>\n\u003cp>Born in Chicago on Aug. 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.\u003c/p>\n\u003cp>“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, Everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”\u003c/p>\n\u003cp>He moved from live shows to documentaries, making \u003cem>The People Versus Paul Crump\u003c/em> in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.\u003c/p>\n\u003cp>Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.\u003c/p>\n\u003cp>After working on such shows as \u003cem>The Bold Ones\u003c/em>, \u003cem>The Alfred Hitchcock Hour\u003c/em> and the documentary \u003cem>The Thin Blue Line\u003c/em>, Friedkin landed his first film, 1967’s \u003cem>Good Times\u003c/em>. It was a lighthearted musical romp headlined by the pop duo Sonny and Cher in what would be their only movie appearance together.\u003c/p>\n\u003cp>He followed that with \u003cem>The Night They Raided Minsky’s\u003c/em>, about backstage life at a burlesque theater, and \u003cem>The Birthday Party\u003c/em>, from a Harold Pinter play. He then gained critical attention with 1970’s \u003cem>The Boys in the Band\u003c/em>, a landmark film about gay men.\u003c/p>\n\u003cp>Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange.\u003c/p>\n\u003cp>In 1991 he married Paramount studio executive Sherry Lansing.\u003c/p>\n\u003cp>Friedkin has a new film on the way, \u003cem>The Caine Mutiny Court-Martial\u003c/em>, starring Kiefer Sutherland that’s set to premiere at the Venice Film Festival next month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The late Associated Press Correspondent Bob Thomas was the primary writer of this obituary.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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