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"content": "\u003cp>When she thinks back to her childhood in Gaza in the late ’90s, \u003ca href=\"https://www.laraaburamadan.com/about\">Lara Aburamadan\u003c/a> recalls spending her days hanging out and enjoying food with her family on sandy beaches, swimming in the Mediterranean Sea during hot, humid summers.\u003c/p>\n\u003cp>“Gaza is a small place. To drive from north to south it takes 25 minutes, and from west to east, 15 minutes,” she says. “It’s a small city, probably the size of San Francisco.”\u003c/p>\n\u003cp>Now based in Berkeley, Aburamadan is a visual artist, independent journalist and photographer. She is also the founder of \u003ca href=\"https://www.refugeeeye.org/\">Refugee Eye\u003c/a>, an art studio on Valencia Street in San Francisco.\u003c/p>\n\u003cp>When she picked up a camera 10 years ago, those beaches and daily life in Gaza City became some of her first subjects. “I wanted to show the beauty of Gaza,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13966257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg\" alt=\"A photo of a woman in a hijab at a beach with her back turned, staring out onto the sea. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Timeless Hope’ by Lara Aburamadan, taken at Deir al-Balah Refugee Camp, Gaza Strip, in 2013. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet life in a war-torn region made capturing beauty a privilege. The killings of her people back home motivated her to use her art and journalism skills for social change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aburamadan’s photos have been published in \u003cem>Time Magazine\u003c/em>, \u003cem>San Francisco Chronicle\u003c/em>, Al Jazeera and more. She has also written for \u003cem>The Atlantic\u003c/em> and \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>In her 2012 piece for \u003cem>The New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/2012/11/17/opinion/trapped-in-gaza.html\">Trapped in Gaza\u003c/a>,” she recounts her visit to a film festival. Suddenly, an organizer interrupted the program to warn the audience of impending Israeli strikes, urging everyone to go home for safety. Aburamadan, her mother and young siblings listened to the sounds of bombs from inside their home for the next 48 hours. [aside postid='news_12007959,arts_13966184']\u003c/p>\n\u003cp>“And all the while, we hear bombs. Bombs that bear autumn’s scent and winter’s chill. Bombs that batter. Bombs that kill. I still have waking nightmares of the bombs that tore through our sky nearly four years ago, when a classmate, Maha, lost her mother in an Israeli strike,” she wrote.\u003c/p>\n\u003cp>2014 marked another deadly year in Gaza, when the Israeli military killed 2,200 Palestinians, over half of whom were civilians \u003ca href=\"https://www.ochaopt.org/content/key-figures-2014-hostilities\">according to a United Nations report\u003c/a>. Aburamadan and her then-husband live-streamed the shelling from their 11th-floor apartment, sharing with the world what mainstream media wouldn’t.\u003c/p>\n\u003cp>“The point of our work, which we posted on Twitter and Facebook, was to make it more difficult for people around the world to say, ‘I didn’t know,’” she \u003ca href=\"https://www.theatlantic.com/international/archive/2015/08/gaza-war-israel-anniversary/402364/\">wrote in \u003cem>The Atlantic\u003c/em> in 2015\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13966258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Has Wings’ by Lara Aburamadan, taken at Beach Refugee Camp, Gaza City, in 2015. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The sound of Israeli drones incessantly hovering overhead is terrifying, but the bombs — and their promise to bring either an explosion or death — are worse,” she wrote.\u003c/p>\n\u003cp>Aburamadan and her then-husband moved to the U.S. as asylum seekers when they were both 24 years old. When she first arrived in the Bay Area in 2017, she struggled to connect and feel at home.\u003c/p>\n\u003cp>“I didn’t know people, I didn’t have friends or community,” she says.\u003c/p>\n\u003cp>In time, she eventually accepted this new phase in her life. “I’m a refugee in this new place. It’s okay not to find the familiarity now,” she told herself.\u003c/p>\n\u003cfigure id=\"attachment_13966256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg\" alt=\"Freshly harvested grapes spilling out of crates.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Sheikh Ejleen Grapes’ by Lara Aburamadan, taken in Gaza City in 2016. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her current work explores the social and political narratives of refugees and marginalized communities. Through Refugee Eye, she creates a space for refugee artists and photographers from all around the world to share their stories.\u003c/p>\n\u003cp>“I wanted to embrace my perspective as a refugee,” she says.\u003c/p>\n\u003cp>Earlier this year, she curated an exhibition at Refugee Eye called \u003ca href=\"https://www.refugeeeye.org/sfgallery\">\u003cem>Gaza: Between Life and Loss\u003c/em>\u003c/a>, featuring photographs and illustrations by Palestinian artists, including work by popular Gaza street photographer Suhail Nassar and illustrator Bayan Abu Nahla.\u003c/p>\n\u003cp>“It’s been a beautiful journey to learn more about the art scene here in the Bay Area and connect with different refugee artists around the world,” Aburamadan reflects.\u003c/p>\n\u003cp>Having lived through multiple bombardments of Gaza, the war that began in October last year didn’t surprise Aburamadan. But it felt different this time. “In the first few months, my mind was constantly on Gaza,” she says.\u003c/p>\n\u003cp>“It was super stressful,” she adds. “My people are being killed everyday.”\u003c/p>\n\u003cfigure id=\"attachment_13966253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lara Aburamadan in Berkeley on Oct. 4, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing protests and Palestinian flags in the streets of the Bay Area has made her feel less alone. But despite these efforts, she is disappointed that, after a year, nothing has changed.\u003c/p>\n\u003cp>“Protests have called for a ceasefire, but the bombing continues every day,” she says. “It’s even getting worse.”\u003c/p>\n\u003cp>Through her work, Aburamadan hopes to continue showing the world a different side of Gaza. “I want people to see Gaza as a beautiful place with genuinely kind people who don’t want wars and just want peace,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want my art to reflect who we are as a collective, proving that we exist and that we’re amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When she thinks back to her childhood in Gaza in the late ’90s, \u003ca href=\"https://www.laraaburamadan.com/about\">Lara Aburamadan\u003c/a> recalls spending her days hanging out and enjoying food with her family on sandy beaches, swimming in the Mediterranean Sea during hot, humid summers.\u003c/p>\n\u003cp>“Gaza is a small place. To drive from north to south it takes 25 minutes, and from west to east, 15 minutes,” she says. “It’s a small city, probably the size of San Francisco.”\u003c/p>\n\u003cp>Now based in Berkeley, Aburamadan is a visual artist, independent journalist and photographer. She is also the founder of \u003ca href=\"https://www.refugeeeye.org/\">Refugee Eye\u003c/a>, an art studio on Valencia Street in San Francisco.\u003c/p>\n\u003cp>When she picked up a camera 10 years ago, those beaches and daily life in Gaza City became some of her first subjects. “I wanted to show the beauty of Gaza,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13966257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg\" alt=\"A photo of a woman in a hijab at a beach with her back turned, staring out onto the sea. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Timeless Hope’ by Lara Aburamadan, taken at Deir al-Balah Refugee Camp, Gaza Strip, in 2013. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet life in a war-torn region made capturing beauty a privilege. The killings of her people back home motivated her to use her art and journalism skills for social change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aburamadan’s photos have been published in \u003cem>Time Magazine\u003c/em>, \u003cem>San Francisco Chronicle\u003c/em>, Al Jazeera and more. She has also written for \u003cem>The Atlantic\u003c/em> and \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>In her 2012 piece for \u003cem>The New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/2012/11/17/opinion/trapped-in-gaza.html\">Trapped in Gaza\u003c/a>,” she recounts her visit to a film festival. Suddenly, an organizer interrupted the program to warn the audience of impending Israeli strikes, urging everyone to go home for safety. Aburamadan, her mother and young siblings listened to the sounds of bombs from inside their home for the next 48 hours. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And all the while, we hear bombs. Bombs that bear autumn’s scent and winter’s chill. Bombs that batter. Bombs that kill. I still have waking nightmares of the bombs that tore through our sky nearly four years ago, when a classmate, Maha, lost her mother in an Israeli strike,” she wrote.\u003c/p>\n\u003cp>2014 marked another deadly year in Gaza, when the Israeli military killed 2,200 Palestinians, over half of whom were civilians \u003ca href=\"https://www.ochaopt.org/content/key-figures-2014-hostilities\">according to a United Nations report\u003c/a>. Aburamadan and her then-husband live-streamed the shelling from their 11th-floor apartment, sharing with the world what mainstream media wouldn’t.\u003c/p>\n\u003cp>“The point of our work, which we posted on Twitter and Facebook, was to make it more difficult for people around the world to say, ‘I didn’t know,’” she \u003ca href=\"https://www.theatlantic.com/international/archive/2015/08/gaza-war-israel-anniversary/402364/\">wrote in \u003cem>The Atlantic\u003c/em> in 2015\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13966258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Has Wings’ by Lara Aburamadan, taken at Beach Refugee Camp, Gaza City, in 2015. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The sound of Israeli drones incessantly hovering overhead is terrifying, but the bombs — and their promise to bring either an explosion or death — are worse,” she wrote.\u003c/p>\n\u003cp>Aburamadan and her then-husband moved to the U.S. as asylum seekers when they were both 24 years old. When she first arrived in the Bay Area in 2017, she struggled to connect and feel at home.\u003c/p>\n\u003cp>“I didn’t know people, I didn’t have friends or community,” she says.\u003c/p>\n\u003cp>In time, she eventually accepted this new phase in her life. “I’m a refugee in this new place. It’s okay not to find the familiarity now,” she told herself.\u003c/p>\n\u003cfigure id=\"attachment_13966256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg\" alt=\"Freshly harvested grapes spilling out of crates.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Sheikh Ejleen Grapes’ by Lara Aburamadan, taken in Gaza City in 2016. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her current work explores the social and political narratives of refugees and marginalized communities. Through Refugee Eye, she creates a space for refugee artists and photographers from all around the world to share their stories.\u003c/p>\n\u003cp>“I wanted to embrace my perspective as a refugee,” she says.\u003c/p>\n\u003cp>Earlier this year, she curated an exhibition at Refugee Eye called \u003ca href=\"https://www.refugeeeye.org/sfgallery\">\u003cem>Gaza: Between Life and Loss\u003c/em>\u003c/a>, featuring photographs and illustrations by Palestinian artists, including work by popular Gaza street photographer Suhail Nassar and illustrator Bayan Abu Nahla.\u003c/p>\n\u003cp>“It’s been a beautiful journey to learn more about the art scene here in the Bay Area and connect with different refugee artists around the world,” Aburamadan reflects.\u003c/p>\n\u003cp>Having lived through multiple bombardments of Gaza, the war that began in October last year didn’t surprise Aburamadan. But it felt different this time. “In the first few months, my mind was constantly on Gaza,” she says.\u003c/p>\n\u003cp>“It was super stressful,” she adds. “My people are being killed everyday.”\u003c/p>\n\u003cfigure id=\"attachment_13966253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lara Aburamadan in Berkeley on Oct. 4, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing protests and Palestinian flags in the streets of the Bay Area has made her feel less alone. But despite these efforts, she is disappointed that, after a year, nothing has changed.\u003c/p>\n\u003cp>“Protests have called for a ceasefire, but the bombing continues every day,” she says. “It’s even getting worse.”\u003c/p>\n\u003cp>Through her work, Aburamadan hopes to continue showing the world a different side of Gaza. “I want people to see Gaza as a beautiful place with genuinely kind people who don’t want wars and just want peace,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want my art to reflect who we are as a collective, proving that we exist and that we’re amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966189\" class=\"wp-caption aligncenter\" style=\"max-width: 825px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW.jpg\" alt=\"A black-andw-white self-portrait where the artist holds an olive branch while wearing a keffiyeh. \" width=\"825\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW.jpg 825w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-800x977.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-768x938.jpg 768w\" sizes=\"(max-width: 825px) 100vw, 825px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait by Najib Joe Hakim exploring conflicting symbols of “Palestinian-ness.” \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ancient drum beats of Palestinian folk music blared at the California Academy of Sciences in San Francisco on a recent Thursday evening. Against a backdrop of a T-Rex skeleton, a hall of joyful people danced the dabke, and Najib Joe Hakim experienced a hint of hopefulness for the first time since October last year.\u003c/p>\n\u003cp>Hakim is an award-winning Palestinian American documentary photographer, artist and activist based in San Francisco. His work primarily focuses on social justice. But on special occasions, he takes on fun assignments like documenting Cal Academy’s \u003ca href=\"https://48hills.org/2024/09/nightlife-palestine-event-at-cal-academy-draws-large-excited-crowd/\">\u003cem>Nightlife: Falastin\u003c/em>\u003c/a>, an event celebrating Palestinian culture last month.\u003c/p>\n\u003cfigure id=\"attachment_13966192\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dabke dancers at a celebration of Palestinian culture at the California Academy of Sciences in San Francisco on Sept. 19, 2024. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was there, I felt right. I felt happy. I felt the energy of life again,” Hakim says. “People would be joyful and appreciative of being together despite the elephant in the room.”\u003c/p>\n\u003cp>That elephant is Israel’s military campaign in Gaza, which according to its health officials has killed over 41,800 people, mostly civilians, since Oct. 7, 2023. On that day, Hamas’ attack on Israel left about 1,200 people dead, according to the Israeli government. (The medical journal \u003ca href=\"https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(24)01169-3/fulltext\">\u003cem>The Lancet\u003c/em>\u003c/a> estimates that there could be as many as 186,000 deaths in Gaza because of famine, communicable diseases and other consequences of the bombardment.)\u003c/p>\n\u003cp>The war has taken the lives of fellow artists Hakim knows and loves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I know one artist who’s been killed with her two sons, and two others whose homes and studios have been destroyed,” Hakim says. “So, it’s personal.”\u003c/p>\n\u003cp>Hakim was born in Beirut, Lebanon to Palestinian parents who fled during the \u003ca href=\"https://www.un.org/unispal/about-the-nakba/\">1948 Nakba\u003c/a>, the mass displacement of Palestinians during the establishment of Israel. He and his parents moved to the U.S. when he was just a toddler. Hakim was raised in New York City and then Washington, D.C. He arrived in the Bay Area in 1987, when he was in his early 30s, and has been here ever since.\u003c/p>\n\u003cp>One of Hakim’s award-winning projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Home-Away-from-Home-Little-Palestine-by-the-Bay\">\u003cem>Home Away From Home: Little Palestine by the Bay\u003c/em>\u003c/a>, was something he dreamt of doing since he was young. The 2014 multimedia project features photographs and audio stories of 26 Palestinians across the Bay Area. “The goal of the project was to give Palestinians a voice to tell their own stories in their own words, and to humanize their experiences,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13966190\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg\" alt=\"\" width=\"2000\" height=\"1583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1020x807.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1536x1216.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1920x1520.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Najib Joe Hakim’s portrait of Oakland-born Palestinian American Lubna Morrar. She holds earrings with Palestinian coins from 1942, before the creation of the state of Israel. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Israel’s war in Gaza started last October, Hakim said he went through a period of self-isolation. “For the first two months after Oct. 7, I didn’t even leave my apartment except to get food,” he reflects. “Part of the reason for that is I think most of the people out there are living in Disneyland. They don’t seem to feel what’s going on in Gaza in the same way I do.”\u003c/p>\n\u003cp>Over the past year, Hakim has felt angry and frustrated. “People are on the streets. People are demanding a ceasefire,” he says. “But the U.S. government doesn’t represent us. The government does not represent the interests of humanity,” he said. “I’ve always known that free speech didn’t include speech about Palestine.” [aside postid='arts_13966207,news_12007959']\u003c/p>\n\u003cp>Yet Bay Area residents’ solidarity with Palestinians through protests, education and activism has felt heartening, he says.\u003c/p>\n\u003cp>“I think those people realize that this isn’t just about Palestine,” he says. “We are all connected. We are all somehow victims and the result of the imperial world.”\u003c/p>\n\u003cp>In another one of Hakim’s projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Palestine-Diary\">\u003cem>Palestine Diary\u003c/em>\u003c/a>, he shares photos and stories from his visit to Gaza, Jerusalem and the West Bank in the late ’70s, when he was in his early 20s. “I rediscovered them recently and I thought, ‘Wow, these are my pictures,’” he says.\u003c/p>\n\u003cp>The captions accompanying the photos are excerpts from a journal he kept at the time. “When I read the journal recently, it felt like letters that I had written to my future self were just delivered,” he wrote on his website.\u003c/p>\n\u003cfigure id=\"attachment_13966191\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966191\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg\" alt=\"\" width=\"2000\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-800x282.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1020x360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-160x56.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-768x271.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1536x542.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1920x678.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Najib Joe Hakim of the sun setting behind the Dome of the Rock and Al-Aqsa Mosque in the Old City of Jerusalem, with a keffiyeh overlaid on the sky. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one entry in \u003cem>Palestine Diary\u003c/em>, he shares an excerpt from his journal. “I never felt so at home anywhere as I do here,” it reads. “Every breath feels like a charge of energy. Life here for me is as natural as waking up in the morning. I walk to the Old City and get some warm knafeh and freshly squeezed carrot juice as if I’ve done it my whole life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When thinking about his role as a Palestinian American artist as the war rages on, he hopes he can continue to make art that shares the joy of his people. “I’m trying to spread the beauty,” he says, “of Palestinian culture and people.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966189\" class=\"wp-caption aligncenter\" style=\"max-width: 825px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW.jpg\" alt=\"A black-andw-white self-portrait where the artist holds an olive branch while wearing a keffiyeh. \" width=\"825\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW.jpg 825w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-800x977.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-768x938.jpg 768w\" sizes=\"(max-width: 825px) 100vw, 825px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait by Najib Joe Hakim exploring conflicting symbols of “Palestinian-ness.” \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ancient drum beats of Palestinian folk music blared at the California Academy of Sciences in San Francisco on a recent Thursday evening. Against a backdrop of a T-Rex skeleton, a hall of joyful people danced the dabke, and Najib Joe Hakim experienced a hint of hopefulness for the first time since October last year.\u003c/p>\n\u003cp>Hakim is an award-winning Palestinian American documentary photographer, artist and activist based in San Francisco. His work primarily focuses on social justice. But on special occasions, he takes on fun assignments like documenting Cal Academy’s \u003ca href=\"https://48hills.org/2024/09/nightlife-palestine-event-at-cal-academy-draws-large-excited-crowd/\">\u003cem>Nightlife: Falastin\u003c/em>\u003c/a>, an event celebrating Palestinian culture last month.\u003c/p>\n\u003cfigure id=\"attachment_13966192\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dabke dancers at a celebration of Palestinian culture at the California Academy of Sciences in San Francisco on Sept. 19, 2024. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was there, I felt right. I felt happy. I felt the energy of life again,” Hakim says. “People would be joyful and appreciative of being together despite the elephant in the room.”\u003c/p>\n\u003cp>That elephant is Israel’s military campaign in Gaza, which according to its health officials has killed over 41,800 people, mostly civilians, since Oct. 7, 2023. On that day, Hamas’ attack on Israel left about 1,200 people dead, according to the Israeli government. (The medical journal \u003ca href=\"https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(24)01169-3/fulltext\">\u003cem>The Lancet\u003c/em>\u003c/a> estimates that there could be as many as 186,000 deaths in Gaza because of famine, communicable diseases and other consequences of the bombardment.)\u003c/p>\n\u003cp>The war has taken the lives of fellow artists Hakim knows and loves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I know one artist who’s been killed with her two sons, and two others whose homes and studios have been destroyed,” Hakim says. “So, it’s personal.”\u003c/p>\n\u003cp>Hakim was born in Beirut, Lebanon to Palestinian parents who fled during the \u003ca href=\"https://www.un.org/unispal/about-the-nakba/\">1948 Nakba\u003c/a>, the mass displacement of Palestinians during the establishment of Israel. He and his parents moved to the U.S. when he was just a toddler. Hakim was raised in New York City and then Washington, D.C. He arrived in the Bay Area in 1987, when he was in his early 30s, and has been here ever since.\u003c/p>\n\u003cp>One of Hakim’s award-winning projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Home-Away-from-Home-Little-Palestine-by-the-Bay\">\u003cem>Home Away From Home: Little Palestine by the Bay\u003c/em>\u003c/a>, was something he dreamt of doing since he was young. The 2014 multimedia project features photographs and audio stories of 26 Palestinians across the Bay Area. “The goal of the project was to give Palestinians a voice to tell their own stories in their own words, and to humanize their experiences,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13966190\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg\" alt=\"\" width=\"2000\" height=\"1583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1020x807.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1536x1216.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1920x1520.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Najib Joe Hakim’s portrait of Oakland-born Palestinian American Lubna Morrar. She holds earrings with Palestinian coins from 1942, before the creation of the state of Israel. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Israel’s war in Gaza started last October, Hakim said he went through a period of self-isolation. “For the first two months after Oct. 7, I didn’t even leave my apartment except to get food,” he reflects. “Part of the reason for that is I think most of the people out there are living in Disneyland. They don’t seem to feel what’s going on in Gaza in the same way I do.”\u003c/p>\n\u003cp>Over the past year, Hakim has felt angry and frustrated. “People are on the streets. People are demanding a ceasefire,” he says. “But the U.S. government doesn’t represent us. The government does not represent the interests of humanity,” he said. “I’ve always known that free speech didn’t include speech about Palestine.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet Bay Area residents’ solidarity with Palestinians through protests, education and activism has felt heartening, he says.\u003c/p>\n\u003cp>“I think those people realize that this isn’t just about Palestine,” he says. “We are all connected. We are all somehow victims and the result of the imperial world.”\u003c/p>\n\u003cp>In another one of Hakim’s projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Palestine-Diary\">\u003cem>Palestine Diary\u003c/em>\u003c/a>, he shares photos and stories from his visit to Gaza, Jerusalem and the West Bank in the late ’70s, when he was in his early 20s. “I rediscovered them recently and I thought, ‘Wow, these are my pictures,’” he says.\u003c/p>\n\u003cp>The captions accompanying the photos are excerpts from a journal he kept at the time. “When I read the journal recently, it felt like letters that I had written to my future self were just delivered,” he wrote on his website.\u003c/p>\n\u003cfigure id=\"attachment_13966191\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966191\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg\" alt=\"\" width=\"2000\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-800x282.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1020x360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-160x56.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-768x271.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1536x542.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1920x678.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Najib Joe Hakim of the sun setting behind the Dome of the Rock and Al-Aqsa Mosque in the Old City of Jerusalem, with a keffiyeh overlaid on the sky. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one entry in \u003cem>Palestine Diary\u003c/em>, he shares an excerpt from his journal. “I never felt so at home anywhere as I do here,” it reads. “Every breath feels like a charge of energy. Life here for me is as natural as waking up in the morning. I walk to the Old City and get some warm knafeh and freshly squeezed carrot juice as if I’ve done it my whole life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When thinking about his role as a Palestinian American artist as the war rages on, he hopes he can continue to make art that shares the joy of his people. “I’m trying to spread the beauty,” he says, “of Palestinian culture and people.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "patti-smith-and-lynn-goldsmith-discuss-new-book-in-reopened-oakland-theater",
"title": "Patti Smith and Lynn Goldsmith Discuss New Book in Newly Reopened Theater",
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"headTitle": "Patti Smith and Lynn Goldsmith Discuss New Book in Newly Reopened Theater | KQED",
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"content": "\u003cp>Without question, Robert Mappelthorpe is the photographer with which poet, writer and musician Patti Smith will always most closely be associated. As his working partner, lover and lifetime confidant, Smith beautifully chronicled their relationship in the award-winning memoir \u003cem>Just Kids\u003c/em>; Mappelthorpe, for his part, shot the now-iconic cover portrait for Smith’s debut album, \u003cem>Horses\u003c/em>. \u003c/p>\n\u003cp>[aside postID='news_12007103']Meanwhile, Smith’s relationship with photographer Lynn Goldsmith, who three years after \u003cem>Horses\u003c/em> shot the cover for Smith’s commercial breakthrough \u003cem>Easter\u003c/em>, is the subject of another book, \u003cem>Before Easter After\u003c/em> (Rizzoli; $65). Combining Goldsmith’s striking color portraits with Smith’s poetry and reflections of the era, it chronicles a secondary but no less important relationship between Smith and the camera lens.\u003c/p>\n\u003cp>On the heels of Smith’s appearance at the Hardly Strictly Bluegrass Festival in Golden Gate Park, she and Goldsmith appear Monday in a conversation moderated by KQED contributor Emma Silvers. Along with Goldsmith’s photography and the pair’s stories of a pivotal era, the night also marks the public reopening of the Calvin Simmons Theatre, located in Oakland’s historic Henry J. Kaiser Center for the Arts, after a renovation. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Patti Smith and Lynn Goldsmith appear in conversation on Monday, Oct. 7, at the Calvin Simmons Theatre in Oakland. \u003ca href=\"http://events.noisepop.com/events/2024/10/7/an-intimate-evening-with-lynn-goldsmith-and-patti-smith-in-conversation-tickets\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without question, Robert Mappelthorpe is the photographer with which poet, writer and musician Patti Smith will always most closely be associated. As his working partner, lover and lifetime confidant, Smith beautifully chronicled their relationship in the award-winning memoir \u003cem>Just Kids\u003c/em>; Mappelthorpe, for his part, shot the now-iconic cover portrait for Smith’s debut album, \u003cem>Horses\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Smith’s relationship with photographer Lynn Goldsmith, who three years after \u003cem>Horses\u003c/em> shot the cover for Smith’s commercial breakthrough \u003cem>Easter\u003c/em>, is the subject of another book, \u003cem>Before Easter After\u003c/em> (Rizzoli; $65). Combining Goldsmith’s striking color portraits with Smith’s poetry and reflections of the era, it chronicles a secondary but no less important relationship between Smith and the camera lens.\u003c/p>\n\u003cp>On the heels of Smith’s appearance at the Hardly Strictly Bluegrass Festival in Golden Gate Park, she and Goldsmith appear Monday in a conversation moderated by KQED contributor Emma Silvers. Along with Goldsmith’s photography and the pair’s stories of a pivotal era, the night also marks the public reopening of the Calvin Simmons Theatre, located in Oakland’s historic Henry J. Kaiser Center for the Arts, after a renovation. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Patti Smith and Lynn Goldsmith appear in conversation on Monday, Oct. 7, at the Calvin Simmons Theatre in Oakland. \u003ca href=\"http://events.noisepop.com/events/2024/10/7/an-intimate-evening-with-lynn-goldsmith-and-patti-smith-in-conversation-tickets\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>[aside postID='arts_13962878']It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allan Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allan Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-hot-looks-fan-fashions-at-portola-fest-2024",
"title": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024",
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"headTitle": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024 | KQED",
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"content": "\u003cp>Now in its third year, the Portola Music Festival has become one of the hottest tickets in town for fans of electronic and club music. For two days, Sept. 28–29, San Francisco’s Pier 80 transformed into a giant rave — if you’ll allow the expansion of the term “rave,” with its roots in underground music and culture, to include a festival put on by a major corporate promoter.\u003c/p>\n\u003cp>More than 30,000 attendees got decked out each day to dance and vibe beneath a glittering disco ball, taking in sets by Jessie Ware, Disclosure, M.I.A., hometown heroes Deltron 3030 and more. Photographer Estefany Gonzalez was on the scene for photos of fans and their festival fashions.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13965719/portola-festival-review-photos-san-francisco-2024\">See photos of performances and read more about the weekend here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lola Fadojutimi, 30, wears red sunglasses at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Fadojutimi currently lives in Washington, D.C., and was so excited about the lineup that she decided to purchase tickets despite the fact that she’s moving to New York as soon as she returns from her trip. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gal Azulay, 25, twirls a glowing rave toy as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. Azulay was one of the many people in attendance with neon accessories. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emilio Arias, 36, wears a Victorian-style wig at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965753\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Janie Flores, 29, dances with her doll at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965742\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robby Alva, 29, and his partner Cesar Delgado, 29, hold hands at at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965740\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Romero, 30, uses a parasol decorated with colorful charms to protect herself from the sun at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Romero, a festival enthusiast, has taken the parasol with her to countless festivals, considers it a staple, and has repaired it each time a charm falls off. “It’s been through a lot,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965752\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shashank Shivashankar, 28, center, dances at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965761\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Herrera, 34, waves a rainbow fan as Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965759\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sungho Yoo, 37, center, and friends dress as fruit salad at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People dance as Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alyssa Tarango, 21, uses a pacifier as thousands of people gather at the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas Gerst, 30, decorates his spiked hair with safety pins at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Biggs, 30, center, dances with their friends as Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Ixcoy, 22, watches Horsegiirl perform from the front row of the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aaron Bermillo, 26, center, wears a vibrant, handmade fur outfit at the Ship Tent during Rebecca Black’s performance at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tatiana Henriquez, 25, sits on her friend’s shoulders as she watches Horsegiirl perform at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris Tan, 25, waves an inflatable pickle in the air as Mochakk performs at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965815\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A festival attendee wears light up fur leg warmers at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person identifying as “Granny” walks toward the Crane Stage as Natasha Bedingfield takes the stage at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Feldman, 35, right, hugs his friend as Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noheli Sotelo, 26, center, watches Mochakk perform at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melonee Sanchez, 21, wears colorful bracelets at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. The bracelets Sanchez wears are often referred to as kandi bracelets at raves and are often exchanged to commemorate a friendship. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shai Moya, 25, center, and friends party at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965755\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965755\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Linda Gordon, 55, and her dog Brixton, 11, stun in their shades at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Attendees brought out their best fits and neon accessories for the electronic music festival.",
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"title": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024 | KQED",
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"headline": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its third year, the Portola Music Festival has become one of the hottest tickets in town for fans of electronic and club music. For two days, Sept. 28–29, San Francisco’s Pier 80 transformed into a giant rave — if you’ll allow the expansion of the term “rave,” with its roots in underground music and culture, to include a festival put on by a major corporate promoter.\u003c/p>\n\u003cp>More than 30,000 attendees got decked out each day to dance and vibe beneath a glittering disco ball, taking in sets by Jessie Ware, Disclosure, M.I.A., hometown heroes Deltron 3030 and more. Photographer Estefany Gonzalez was on the scene for photos of fans and their festival fashions.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13965719/portola-festival-review-photos-san-francisco-2024\">See photos of performances and read more about the weekend here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lola Fadojutimi, 30, wears red sunglasses at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Fadojutimi currently lives in Washington, D.C., and was so excited about the lineup that she decided to purchase tickets despite the fact that she’s moving to New York as soon as she returns from her trip. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gal Azulay, 25, twirls a glowing rave toy as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. Azulay was one of the many people in attendance with neon accessories. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emilio Arias, 36, wears a Victorian-style wig at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965753\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Janie Flores, 29, dances with her doll at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965742\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robby Alva, 29, and his partner Cesar Delgado, 29, hold hands at at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965740\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Romero, 30, uses a parasol decorated with colorful charms to protect herself from the sun at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Romero, a festival enthusiast, has taken the parasol with her to countless festivals, considers it a staple, and has repaired it each time a charm falls off. “It’s been through a lot,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965752\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shashank Shivashankar, 28, center, dances at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965761\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Herrera, 34, waves a rainbow fan as Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965759\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sungho Yoo, 37, center, and friends dress as fruit salad at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People dance as Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alyssa Tarango, 21, uses a pacifier as thousands of people gather at the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas Gerst, 30, decorates his spiked hair with safety pins at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Biggs, 30, center, dances with their friends as Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Ixcoy, 22, watches Horsegiirl perform from the front row of the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aaron Bermillo, 26, center, wears a vibrant, handmade fur outfit at the Ship Tent during Rebecca Black’s performance at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tatiana Henriquez, 25, sits on her friend’s shoulders as she watches Horsegiirl perform at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris Tan, 25, waves an inflatable pickle in the air as Mochakk performs at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965815\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A festival attendee wears light up fur leg warmers at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person identifying as “Granny” walks toward the Crane Stage as Natasha Bedingfield takes the stage at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Feldman, 35, right, hugs his friend as Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noheli Sotelo, 26, center, watches Mochakk perform at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melonee Sanchez, 21, wears colorful bracelets at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. The bracelets Sanchez wears are often referred to as kandi bracelets at raves and are often exchanged to commemorate a friendship. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shai Moya, 25, center, and friends party at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965755\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965755\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Linda Gordon, 55, and her dog Brixton, 11, stun in their shades at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "east-palo-alto-hidden-beauty-photography-darius-riley",
"title": "East Palo Alto’s Hidden Beauty",
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"headTitle": "East Palo Alto’s Hidden Beauty | KQED",
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"content": "\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/siliconvalleyunseen\">Silicon Valley Unseen\u003c/a> is a series of photo essays, original reporting and underreported histories that survey the tech capital’s overlooked communities and subcultures from a local perspective.\u003c/em>\u003c/p>\n\u003cp>There’s nothing like summertime in my hometown of East Palo Alto (better known as EPA). The California weather is ideal, the whips are out and everyone lingers around longer than usual. It’s when the city feels most alive, and \u003ca href=\"https://youtu.be/f1758uUJVGw\">when I can best capture its warm vibrancy with my camera\u003c/a>.\u003c/p>\n\u003cp>Over the past few weeks, I hopped on my skateboard and mobbed through the hood, making it my duty to touch each section, snapping shots with my Fuji GFX50S II.\u003c/p>\n\u003cp>I criss-crossed the new catwalk stretching above Hwy. 101 — a new structure that continues to reshape the city’s infrastructure. I swung by Flooda, a neighborhood where I grew up, to tap in with family. I visited the G — another of EPA’s many sections, home to my high school — where the tough roads make it hard to enjoy a smooth ride. It’s the kind of place where you’re forced to slow down, observe, and interact with people.\u003c/p>\n\u003cfigure id=\"attachment_13965337\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter, Leon Golden and Lisa Golden, pose in front of their home in The G. Leon has lived in EPA for more than six decades. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For anyone from East Palo Alto, it’s essential to emphasize the “E” in EPA. Palo Alto and East Palo Alto are two different cities in two different counties, with two different demographics, and may as well be located on two different planets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One five-mile stretch of road, University Avenue, directly connects Meta’s headquarters to Stanford’s campus. It shoots right through the heart of EPA, passing by an Amazon office complex, Silicon Valley’s only IKEA, and a ritzy Hilton Four Seasons hotel. But that’s not the EPA I remember. You’d never know that there used to be hella corner stores, family-owned shops, and a downtown community hub. Much of that local identity was replaced to cater to Silicon Valley’s corporate image.\u003c/p>\n\u003cp>After graduating high school, I attended Bowdoin College, a small liberal arts school in Maine. Whenever I’d tell my peers where I was from, they’d often fixate on the perception of tech companies founded in garages, or of Stanford and James Franco. That’s not the case for us. EPA breeds our own kind of history and innovation. If Palo Alto represents the Bay Area as Silicon Valley in its most suburbanized affluence, then East Palo Alto is an extension of the Yay Area’s rugged shortcomings, operating in the shadows of tech’s unreachable power. That contradiction is what makes EPA special, and arms us with an unbreakable resilience.\u003c/p>\n\u003cfigure id=\"attachment_13965338\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An abuelita tenderly waters her garden in The Mid. I learned how to speak Spanish by growing up around hella Latino families in EPA. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of East Palo Alto’s native sons, \u003ca href=\"https://www.nytimes.com/athletic/2966335/2021/11/23/davante-adams-journey-from-sleeping-on-couch-to-top-of-nfl-had-its-bumps/\">Davante Adams — an All-Pro NFL wide receiver for the Las Vegas Raiders\u003c/a> — said it best on \u003ca href=\"https://www.youtube.com/watch?v=iO2iKU7mTfA\">an episode of \u003ci>Pivot Podcast\u003c/i>\u003c/a>\u003ci>:\u003c/i> “In \u003cem>Lion King\u003c/em>, you got Pride Rock and then you got the elephant graveyard right there on top of each other, but it’s a whole different world. I’m from the elephant graveyard. I’m proud of where I’m from. I’m not proud of stuff that contributes to the reason why it’s not the same, but it is what it is and I stand on where I’m from.”\u003c/p>\n\u003cp>That’s how I feel when I tell people I’m from East Palo Alto. Some people may never understand the roguish ways of \u003ca href=\"https://hardknockradio.org/little-nairobi-the-story-of-east-palo-alto-black-rainbow-a-conversation-w-corinne-baily-rae/\">Little Nairobi\u003c/a>, but those who are tapped in know wassup. I feel proud to document the faces, familiar corners and current state of these neighborhoods.\u003c/p>\n\u003cp>So for those who don’t know what EPA looks like, here’s our beautiful “elephant graveyard,” down by the Bay’s shoreline.\u003c/p>\n\u003cfigure id=\"attachment_13964444\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-scaled.jpg\" alt=\"a stop sign in East Palo Alto at the intersection of Kavanaugh and Clarence\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This is where it all began for me. The intersection where I grew up in Flooda. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964446\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-scaled.jpg\" alt=\"a father plays on the porch with his two children\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The sight of a father and his children playing on their grandma’s porch. I’ve always appreciated driving past this house. It has a strong sense of family connection from the outside, so to be able to capture a flash of that in this moment meant a lot to me. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964445\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-scaled.jpg\" alt=\"an elderly woman stands in front of her yard with a bush trimmer\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Foster poses in front of her home while doing yard work. I met her while skating through The Ville. I stopped to take the photo, and she seemed like she had a lot more work to do. I was handed brooms and rakes to get the job done. I even got to mow part of her lawn. She was surprised to learn that it was my first time ever mowing a lawn. She asked me how that was possible. I told her I never had a lawn to mow. We talked about the changes she’s witnessed in EPA over the years. While dumping leaves and trimmings into the compost bin, we were both reminded of the value of community. Despite all the madness, moments like this, when two strangers from two different generations can come together and accomplish a goal, epitomize the heart and soul of our community. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964448\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964448\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-scaled.jpg\" alt=\"an unhoused man opens a can of beer in front of an abandoned post office in East Palo Alto\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On my way to Flooda, I stopped at Pal Market. A man named Ray gave me $2 to buy him a 211. He cracked it open in front of East Palo Alto’s abandoned post office at the intersection of University Ave. and Bay Road. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964454\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-scaled.jpg\" alt=\"a young man on a motor bike poses on the sidewalk\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lil E from the G poses at the intersection of Wisteria and Azalia with his motorbike. That day, I was in The Gardens, known as The G, where every street is named after a plant. I flagged bruh down while he was mobbing on Wisteria. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964451\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-scaled.jpg\" alt=\"a man in a classic car\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Shortly after photographing Lil E, I photographed Big E in his Ford Falcon sitting on Zeniths with mustard and mayonnaise on the wheels. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964450\" class=\"wp-caption alignnone\" style=\"max-width: 2116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-scaled.jpg\" alt=\"a Latina woman poses with her paleta cart in front of a driveway in East Palo Alto\" width=\"2116\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-scaled.jpg 2116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1270x1536.jpg 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1693x2048.jpg 1693w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1920x2323.jpg 1920w\" sizes=\"(max-width: 2116px) 100vw, 2116px\">\u003cfigcaption class=\"wp-caption-text\">La Paletera is an ice cream lady who makes her rounds through EPA. I see her every time I’m outside. There used to be more variety of vendors, including elote men and churro sellers, but I haven’t seen them in some time. Things have changed over the years around here. La Paletera is still ten toes down, though. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964456\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964456\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-scaled.jpg\" alt='a profile shot of a man wearing an \"I Love East Palo Alto\" shirt and hat sits in his car with the door open in front of a liquor store' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">G-Town Market store is where everybody be at. Folks are outside chopping it up, and people in front of the store get honked at by passersby who know each other from childhood. I saw this beautiful 1970 Mustang and had to tap in with the owner. He introduced himself as Coach Eric Stuart and said I looked familiar. “Did you used to have dreads? Who’s your people? Are you the Twins’ nephew?” I confirmed it all with a grin, as excitement lit up his face. “Man, Kash is your mom, right?! I went to school with her and I know your uncles! We go way back!” This is a common scenario for me. Coming from a small city where everyone in the 2.2 square miles melting pot is connected, it’s common to embrace one another. “If I don’t know you, I know someone in your family” is a common saying in EPA. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964457\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-scaled.jpg\" alt=\"a group of Polynesian family members at a park in East Palo Alto\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A group of Tongan kids pose for a photo at Jack Farrell Park. I offered $20 dollars to whoever could score against me on the basketball court. I left with $20 still in the bank. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964458\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964458\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-scaled.jpg\" alt=\"two adolescent boys ride their bikes in the twilight\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Two boys ride their bikes through The Mid, a neighborhood called that because it’s right in the middle of it all. I always looked forward to summers in EPA as a kid because my older brother would come into town from Modesto and we would stay with our pops. My dad had a three-wheeler that my brother and I would mob on while our pops was at work. I have vivid memories of my brother slappin’ “U-C-IT” by Champ Bailey on his Metro Sidekick on our way to Three Brothers tacos. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964459\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964459\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-scaled.jpg\" alt=\"a stripped down bicycle sits abandoned in the middle of a dry creek\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">My mom grew up playing tag in the no man’s land between Pride Rock (Palo Alto) and the Elephant Graveyard (EPA). It’s officially known as the San Francisquito Creek, but in the hood we just call it “the creek.” This line represents the division between the haves and the have nots. The Bay Area and the Yay Area. Steve Jobs and Dem Hoodstarz. I trekked down into the creek and stood in the literal wealth gap between two different realities in Silicon Valley. I found old appliances, moldy clothes, and remnants of childhood. A man set up camp in his tent on the East Side of the creek bank. This stripped down bike felt like a symbol of what — and who — gets left behind around here. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964464\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-scaled.jpg\" alt=\"a Latino family stands outside of their home with a dog in East Palo Alto\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">While riding through The Mid on my skateboard, I always pass by a lot of dogs and families. This dog looked like it was ready to chase me. But I simply like this photo because it’s another example of our city’s intergenerational fabrics. \u003ccite>(Darius Riley/Hourvoyses)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964460\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964460\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-scaled.jpg\" alt=\"an elderly Latino man poses on the fence in front of his home in East Palo Alto\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Pedro stands outside of his home in The Mid with an obituary of his old friend, El Hajj Benjamin Abdul Wajeed Ahmad, a former pastor and activist in East Palo Alto. Pedro spoke about the need for solidarity between Blacks, Hispanics, and Polynesians to build community and create a better EPA. Our conversation was entirely in Spanish. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964447\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964447\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-scaled.jpg\" alt=\"a nighttime view of the Bayshore trail in East Palo Alto\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">There have been times when I’ve told people I’m from East Palo Alto and they argue that it “isn’t really in the Bay.” Well, here are some photos of the Bay Lands, where the Bay Trail extends to San Francisco and where the Dumbarton Bridge connects EPA to Alameda County across the water. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964449\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-scaled.jpg\" alt=\"a memorial for a young man in East Palo Alto\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">I dedicate this all in honor of my good friend and brotha from Flooda, D’Andre “Doc” Stamper, who embodied EPA’s spirit with his love for the community. We miss you, Stamp. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/hourvoyses/?hl=en\">Darius Riley\u003c/a> is a photographer from East Palo Alto, CA. He is focused on empowering Bay Area communities through visual storytelling. More of his work can be viewed \u003ca href=\"https://www.hourvoyses.com/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13964461\" class=\"wp-caption alignnone\" style=\"max-width: 2416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-scaled.jpg\" alt=\"a photographer takes a self portrait in front of a horse in East Palo Alto\" width=\"2416\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-scaled.jpg 2416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-800x848.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1020x1081.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-768x814.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1450x1536.jpg 1450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1933x2048.jpg 1933w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1920x2035.jpg 1920w\" sizes=\"(max-width: 2416px) 100vw, 2416px\">\u003cfigcaption class=\"wp-caption-text\">Darius Riley poses with a horse on the outskirts of EPA. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/siliconvalleyunseen\">Silicon Valley Unseen\u003c/a> is a series of photo essays, original reporting and underreported histories that survey the tech capital’s overlooked communities and subcultures from a local perspective.\u003c/em>\u003c/p>\n\u003cp>There’s nothing like summertime in my hometown of East Palo Alto (better known as EPA). The California weather is ideal, the whips are out and everyone lingers around longer than usual. It’s when the city feels most alive, and \u003ca href=\"https://youtu.be/f1758uUJVGw\">when I can best capture its warm vibrancy with my camera\u003c/a>.\u003c/p>\n\u003cp>Over the past few weeks, I hopped on my skateboard and mobbed through the hood, making it my duty to touch each section, snapping shots with my Fuji GFX50S II.\u003c/p>\n\u003cp>I criss-crossed the new catwalk stretching above Hwy. 101 — a new structure that continues to reshape the city’s infrastructure. I swung by Flooda, a neighborhood where I grew up, to tap in with family. I visited the G — another of EPA’s many sections, home to my high school — where the tough roads make it hard to enjoy a smooth ride. It’s the kind of place where you’re forced to slow down, observe, and interact with people.\u003c/p>\n\u003cfigure id=\"attachment_13965337\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8151-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter, Leon Golden and Lisa Golden, pose in front of their home in The G. Leon has lived in EPA for more than six decades. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For anyone from East Palo Alto, it’s essential to emphasize the “E” in EPA. Palo Alto and East Palo Alto are two different cities in two different counties, with two different demographics, and may as well be located on two different planets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One five-mile stretch of road, University Avenue, directly connects Meta’s headquarters to Stanford’s campus. It shoots right through the heart of EPA, passing by an Amazon office complex, Silicon Valley’s only IKEA, and a ritzy Hilton Four Seasons hotel. But that’s not the EPA I remember. You’d never know that there used to be hella corner stores, family-owned shops, and a downtown community hub. Much of that local identity was replaced to cater to Silicon Valley’s corporate image.\u003c/p>\n\u003cp>After graduating high school, I attended Bowdoin College, a small liberal arts school in Maine. Whenever I’d tell my peers where I was from, they’d often fixate on the perception of tech companies founded in garages, or of Stanford and James Franco. That’s not the case for us. EPA breeds our own kind of history and innovation. If Palo Alto represents the Bay Area as Silicon Valley in its most suburbanized affluence, then East Palo Alto is an extension of the Yay Area’s rugged shortcomings, operating in the shadows of tech’s unreachable power. That contradiction is what makes EPA special, and arms us with an unbreakable resilience.\u003c/p>\n\u003cfigure id=\"attachment_13965338\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8185-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An abuelita tenderly waters her garden in The Mid. I learned how to speak Spanish by growing up around hella Latino families in EPA. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of East Palo Alto’s native sons, \u003ca href=\"https://www.nytimes.com/athletic/2966335/2021/11/23/davante-adams-journey-from-sleeping-on-couch-to-top-of-nfl-had-its-bumps/\">Davante Adams — an All-Pro NFL wide receiver for the Las Vegas Raiders\u003c/a> — said it best on \u003ca href=\"https://www.youtube.com/watch?v=iO2iKU7mTfA\">an episode of \u003ci>Pivot Podcast\u003c/i>\u003c/a>\u003ci>:\u003c/i> “In \u003cem>Lion King\u003c/em>, you got Pride Rock and then you got the elephant graveyard right there on top of each other, but it’s a whole different world. I’m from the elephant graveyard. I’m proud of where I’m from. I’m not proud of stuff that contributes to the reason why it’s not the same, but it is what it is and I stand on where I’m from.”\u003c/p>\n\u003cp>That’s how I feel when I tell people I’m from East Palo Alto. Some people may never understand the roguish ways of \u003ca href=\"https://hardknockradio.org/little-nairobi-the-story-of-east-palo-alto-black-rainbow-a-conversation-w-corinne-baily-rae/\">Little Nairobi\u003c/a>, but those who are tapped in know wassup. I feel proud to document the faces, familiar corners and current state of these neighborhoods.\u003c/p>\n\u003cp>So for those who don’t know what EPA looks like, here’s our beautiful “elephant graveyard,” down by the Bay’s shoreline.\u003c/p>\n\u003cfigure id=\"attachment_13964444\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-scaled.jpg\" alt=\"a stop sign in East Palo Alto at the intersection of Kavanaugh and Clarence\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF3729-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This is where it all began for me. The intersection where I grew up in Flooda. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964446\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-scaled.jpg\" alt=\"a father plays on the porch with his two children\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5364-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The sight of a father and his children playing on their grandma’s porch. I’ve always appreciated driving past this house. It has a strong sense of family connection from the outside, so to be able to capture a flash of that in this moment meant a lot to me. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964445\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-scaled.jpg\" alt=\"an elderly woman stands in front of her yard with a bush trimmer\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5035-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Foster poses in front of her home while doing yard work. I met her while skating through The Ville. I stopped to take the photo, and she seemed like she had a lot more work to do. I was handed brooms and rakes to get the job done. I even got to mow part of her lawn. She was surprised to learn that it was my first time ever mowing a lawn. She asked me how that was possible. I told her I never had a lawn to mow. We talked about the changes she’s witnessed in EPA over the years. While dumping leaves and trimmings into the compost bin, we were both reminded of the value of community. Despite all the madness, moments like this, when two strangers from two different generations can come together and accomplish a goal, epitomize the heart and soul of our community. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964448\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964448\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-scaled.jpg\" alt=\"an unhoused man opens a can of beer in front of an abandoned post office in East Palo Alto\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6113-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On my way to Flooda, I stopped at Pal Market. A man named Ray gave me $2 to buy him a 211. He cracked it open in front of East Palo Alto’s abandoned post office at the intersection of University Ave. and Bay Road. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964454\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-scaled.jpg\" alt=\"a young man on a motor bike poses on the sidewalk\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7336-1-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lil E from the G poses at the intersection of Wisteria and Azalia with his motorbike. That day, I was in The Gardens, known as The G, where every street is named after a plant. I flagged bruh down while he was mobbing on Wisteria. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964451\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-scaled.jpg\" alt=\"a man in a classic car\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7302-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Shortly after photographing Lil E, I photographed Big E in his Ford Falcon sitting on Zeniths with mustard and mayonnaise on the wheels. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964450\" class=\"wp-caption alignnone\" style=\"max-width: 2116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-scaled.jpg\" alt=\"a Latina woman poses with her paleta cart in front of a driveway in East Palo Alto\" width=\"2116\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-scaled.jpg 2116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1270x1536.jpg 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1693x2048.jpg 1693w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7264-1920x2323.jpg 1920w\" sizes=\"(max-width: 2116px) 100vw, 2116px\">\u003cfigcaption class=\"wp-caption-text\">La Paletera is an ice cream lady who makes her rounds through EPA. I see her every time I’m outside. There used to be more variety of vendors, including elote men and churro sellers, but I haven’t seen them in some time. Things have changed over the years around here. La Paletera is still ten toes down, though. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964456\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964456\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-scaled.jpg\" alt='a profile shot of a man wearing an \"I Love East Palo Alto\" shirt and hat sits in his car with the door open in front of a liquor store' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7361-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">G-Town Market store is where everybody be at. Folks are outside chopping it up, and people in front of the store get honked at by passersby who know each other from childhood. I saw this beautiful 1970 Mustang and had to tap in with the owner. He introduced himself as Coach Eric Stuart and said I looked familiar. “Did you used to have dreads? Who’s your people? Are you the Twins’ nephew?” I confirmed it all with a grin, as excitement lit up his face. “Man, Kash is your mom, right?! I went to school with her and I know your uncles! We go way back!” This is a common scenario for me. Coming from a small city where everyone in the 2.2 square miles melting pot is connected, it’s common to embrace one another. “If I don’t know you, I know someone in your family” is a common saying in EPA. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964457\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-scaled.jpg\" alt=\"a group of Polynesian family members at a park in East Palo Alto\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8091-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A group of Tongan kids pose for a photo at Jack Farrell Park. I offered $20 dollars to whoever could score against me on the basketball court. I left with $20 still in the bank. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964458\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964458\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-scaled.jpg\" alt=\"two adolescent boys ride their bikes in the twilight\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8201-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Two boys ride their bikes through The Mid, a neighborhood called that because it’s right in the middle of it all. I always looked forward to summers in EPA as a kid because my older brother would come into town from Modesto and we would stay with our pops. My dad had a three-wheeler that my brother and I would mob on while our pops was at work. I have vivid memories of my brother slappin’ “U-C-IT” by Champ Bailey on his Metro Sidekick on our way to Three Brothers tacos. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964459\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964459\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-scaled.jpg\" alt=\"a stripped down bicycle sits abandoned in the middle of a dry creek\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF8289-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">My mom grew up playing tag in the no man’s land between Pride Rock (Palo Alto) and the Elephant Graveyard (EPA). It’s officially known as the San Francisquito Creek, but in the hood we just call it “the creek.” This line represents the division between the haves and the have nots. The Bay Area and the Yay Area. Steve Jobs and Dem Hoodstarz. I trekked down into the creek and stood in the literal wealth gap between two different realities in Silicon Valley. I found old appliances, moldy clothes, and remnants of childhood. A man set up camp in his tent on the East Side of the creek bank. This stripped down bike felt like a symbol of what — and who — gets left behind around here. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964464\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-scaled.jpg\" alt=\"a Latino family stands outside of their home with a dog in East Palo Alto\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012546-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">While riding through The Mid on my skateboard, I always pass by a lot of dogs and families. This dog looked like it was ready to chase me. But I simply like this photo because it’s another example of our city’s intergenerational fabrics. \u003ccite>(Darius Riley/Hourvoyses)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964460\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964460\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-scaled.jpg\" alt=\"an elderly Latino man poses on the fence in front of his home in East Palo Alto\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/G3012538-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Pedro stands outside of his home in The Mid with an obituary of his old friend, El Hajj Benjamin Abdul Wajeed Ahmad, a former pastor and activist in East Palo Alto. Pedro spoke about the need for solidarity between Blacks, Hispanics, and Polynesians to build community and create a better EPA. Our conversation was entirely in Spanish. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964447\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964447\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-scaled.jpg\" alt=\"a nighttime view of the Bayshore trail in East Palo Alto\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5965-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">There have been times when I’ve told people I’m from East Palo Alto and they argue that it “isn’t really in the Bay.” Well, here are some photos of the Bay Lands, where the Bay Trail extends to San Francisco and where the Dumbarton Bridge connects EPA to Alameda County across the water. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964449\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-scaled.jpg\" alt=\"a memorial for a young man in East Palo Alto\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF7151-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">I dedicate this all in honor of my good friend and brotha from Flooda, D’Andre “Doc” Stamper, who embodied EPA’s spirit with his love for the community. We miss you, Stamp. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/hourvoyses/?hl=en\">Darius Riley\u003c/a> is a photographer from East Palo Alto, CA. He is focused on empowering Bay Area communities through visual storytelling. More of his work can be viewed \u003ca href=\"https://www.hourvoyses.com/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13964461\" class=\"wp-caption alignnone\" style=\"max-width: 2416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-scaled.jpg\" alt=\"a photographer takes a self portrait in front of a horse in East Palo Alto\" width=\"2416\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-scaled.jpg 2416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-800x848.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1020x1081.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-768x814.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1450x1536.jpg 1450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1933x2048.jpg 1933w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/HV00253-1920x2035.jpg 1920w\" sizes=\"(max-width: 2416px) 100vw, 2416px\">\u003cfigcaption class=\"wp-caption-text\">Darius Riley poses with a horse on the outskirts of EPA. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Decade-Old Tenderloin Portraits Glow With Multidimensional Light",
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"content": "\u003cp>A decade ago, South African photographer \u003ca href=\"https://pieterhugo.com/\">Pieter Hugo\u003c/a> came to the Bay Area for a residency at Headlands Center for the Arts. He’d been to the city once before, as a teenager, when he had the formative experience of his first mugging. He was planning on using his time at Headlands to organize his archive, having just made the shift from film to digital photography. Instead, he photographed residents of San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cp>[aside postID='arts_13963016']A selection from the series, titled \u003ca href=\"https://pieterhugo.com/Californian-Wildflowers\">\u003cem>Californian Wildflowers\u003c/em>\u003c/a>, is on view for the first time in San Francisco at Jonathan Carver Moore’s eponymous Market Street gallery, in the very neighborhood where the work was made. The show coincides with an expansive monograph of the same title, forthcoming from \u003ca href=\"https://tbwbooks.com/\">TBW Books\u003c/a>. The series shines an ebullient light on a neighborhood central to the high-profile narrative of San Francisco’s demise, and makes a case for its vibrant humanity.\u003c/p>\n\u003cp>The prints in the show, all untitled, offer their subjects up larger than life, both in physical scale and personal demeanor. A woman clad in a fur coat and curly blonde wig dramatically puffs a cigarette through metallic red lipstick, matching her heavy eyeshadow, echoing the orange wall behind her. A man in a bright green coat and scarf with a pattern of purple hearts practically vogues for the camera, a purse slung jauntily over one shoulder. He’s also prominently clutching keys in his hand, giving an added weight to his air of superior, if theatrical, defiance.\u003c/p>\n\u003cfigure id=\"attachment_13964948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg\" alt=\"Black man looks over shoulder while holding bag in lime green jacket\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where local artists like \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/tenderloin-photo-project-aims-to-capture-neighborhood-spirit/article_b48543ec-d1ce-11ee-8133-2b3b667b073e.html\">Amos Gregory\u003c/a>, who has also photographed residents of the Tenderloin extensively, utilize the context of the studio setting to emphasize his subjects’ dignity, Hugo shoots them in their own element. A striking aspect of the series is how contemporary it looks; these pictures could have been taken yesterday.\u003c/p>\n\u003cp>One subject reclines seductively on the sidewalk, holding a dripping popsicle to their lips. Personal belongings and the corner of a tent can be seen in the background, just out of focus. In another shot, a tough-looking greaser holds his chihuahua up to his face for a kiss; his knuckle tattoos read FUCK COPS. It is in these contrasts that Hugo’s subjects reveal themselves, undefined by their circumstances as much as they remain the very fabric of the neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The issues the work raises dip into both art history and local politics. Both concern the agency of the people pictured.\u003c/p>\n\u003cp>On the art historical side, there’s a question of ethics and exploitation. Some subjects — those included in this exhibition — were willing participants, clearly posing for the camera, while others in the larger series were clearly not, and can be seen experiencing episodes of mental illness. In the case of willing participants, portraiture offers its subjects an opportunity to be seen on their own terms. Even so, there’s an argument to be made that this kind of photography exploits its subject’s hardships for art’s sake. Such concerns are one of the reasons Hugo sat on the work for so long.\u003c/p>\n\u003cfigure id=\"attachment_13964952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg\" alt=\"Corner of white-walled gallery with three large-scale color photographs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Californian Wildflowers’ at Jonathan Carver Moore. \u003ccite>(Courtesy Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Photography is inherently voyeuristic,” Hugo says. “That’s its problem, but also its energy. And you’re never going to resolve that.”\u003c/p>\n\u003cp>In two different pictures hanging on opposite walls of the gallery, women stare earnestly at the camera, one smiling, one frowning, both less interested in the opportunity to perform than with the chance to be seen. Their elegiac expressions reveal a lack of any pretense, just an attempt to make a direct connection with the camera. Were they yearning to be seen? Could they know their likenesses would hang on a gallery wall, 10 years later? Or were they imploring Hugo for something — something more than a picture?\u003c/p>\n\u003cp>Representation, agency and their underlying power dynamics have long troubled documentary photography, and raise questions perhaps as tired as they are essential to the discourse. There’s a grand tradition of photographers turning their lenses on subjects less fortunate than themselves, including \u003ca href=\"https://fraenkelgallery.com/artists/diane-arbus\">Diane Arbus\u003c/a>, who photographed social outcasts; \u003ca href=\"https://jimgoldberg.com/\">Jim Goldberg\u003c/a>, who documented teen homelessness with \u003ci>\u003ca href=\"https://jimgoldberg.com/projects/raised-by-wolves\">Raised by Wolves\u003c/a>\u003c/i>; or Katy Grannan, whose series \u003cem>\u003ca href=\"https://fraenkelgallery.com/exhibitions/katy-grannan-boulevard\">Boulevard\u003c/a>\u003c/em> presents strangers the artist met on the streets of San Francisco and Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13964949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg\" alt=\"Person sits on sidewalk with popsicle in hand, looks directly at camera\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Questions of agency and representation are also part of the larger narrative surrounding the Tenderloin, where unhoused residents are often described with \u003ca href=\"https://www.sfexaminer.com/news/housing/jordan-neely-death-a-violent-result-of-anti-homeless-views/article_c982c2c8-ef4e-11ed-a904-2f05e1ba149a.html\">dehumanizing rhetoric\u003c/a>. San Francisco officials have recently \u003ca href=\"https://www.kqed.org/news/12000606/scenes-from-san-franciscos-unhoused-encampment-sweeps\">intensified sweeps of homeless encampments\u003c/a> under threat from Governor Gavin Newsom. In January, the city’s Department of Homelessness and Supportive Housing identified 8,323 people as unhoused in the \u003ca href=\"https://hsh.sfgov.org/about/research-and-reports/pit/\">annual point-in-time count\u003c/a>, including 1,198 unhoused youth.\u003c/p>\n\u003cp>“People are going to have to go somewhere,” Hugo says, speaking to the potential ineffectiveness of the sweeps and \u003ca href=\"https://www.kqed.org/news/11999880/we-gotta-be-somewhere-unhoused-californians-react-to-newsoms-crackdown\">echoing the sentiments\u003c/a> of unhoused individuals themselves. “You might as well actually deal with the issue because it’s not going to just go away.”\u003c/p>\n\u003cp>\u003cem>Californian Wildflowers\u003c/em> insists on the presence of people who the less marginalized apparently don’t want to see. Hugo’s photographs cast them in a multidimensional light, making clear the humanity of a community, all too often overlooked, even by fellow San Franciscans. \u003c/p>\n\u003cp>“People in the surrounding neighborhoods look at the people in the Tenderloin like they’re so different from them,” says Moore, who has lived in the neighborhood since moving to San Francisco in 2016. “I don’t see it that way. When I lived at Golden Gate and Larkin, in the thick of the Tenderloin, there was open drug dealing and things happening out there and those were the same people who would open the door for me to get into my building when I was carrying groceries.”\u003c/p>\n\u003cp>There’s beauty here, Hugo’s work shows us. What does it tell us about ourselves that it may take the reframing of that beauty as art in order for us to see it?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/15-californian-wildflowers-solo-presentation-from-pieter-hugo/overview/\">Californian Wildflowers\u003c/a>’ is on view at Jonathan Carver Moore (966 Market St., San Francisco) through Nov. 9, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A decade ago, South African photographer \u003ca href=\"https://pieterhugo.com/\">Pieter Hugo\u003c/a> came to the Bay Area for a residency at Headlands Center for the Arts. He’d been to the city once before, as a teenager, when he had the formative experience of his first mugging. He was planning on using his time at Headlands to organize his archive, having just made the shift from film to digital photography. Instead, he photographed residents of San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A selection from the series, titled \u003ca href=\"https://pieterhugo.com/Californian-Wildflowers\">\u003cem>Californian Wildflowers\u003c/em>\u003c/a>, is on view for the first time in San Francisco at Jonathan Carver Moore’s eponymous Market Street gallery, in the very neighborhood where the work was made. The show coincides with an expansive monograph of the same title, forthcoming from \u003ca href=\"https://tbwbooks.com/\">TBW Books\u003c/a>. The series shines an ebullient light on a neighborhood central to the high-profile narrative of San Francisco’s demise, and makes a case for its vibrant humanity.\u003c/p>\n\u003cp>The prints in the show, all untitled, offer their subjects up larger than life, both in physical scale and personal demeanor. A woman clad in a fur coat and curly blonde wig dramatically puffs a cigarette through metallic red lipstick, matching her heavy eyeshadow, echoing the orange wall behind her. A man in a bright green coat and scarf with a pattern of purple hearts practically vogues for the camera, a purse slung jauntily over one shoulder. He’s also prominently clutching keys in his hand, giving an added weight to his air of superior, if theatrical, defiance.\u003c/p>\n\u003cfigure id=\"attachment_13964948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg\" alt=\"Black man looks over shoulder while holding bag in lime green jacket\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where local artists like \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/tenderloin-photo-project-aims-to-capture-neighborhood-spirit/article_b48543ec-d1ce-11ee-8133-2b3b667b073e.html\">Amos Gregory\u003c/a>, who has also photographed residents of the Tenderloin extensively, utilize the context of the studio setting to emphasize his subjects’ dignity, Hugo shoots them in their own element. A striking aspect of the series is how contemporary it looks; these pictures could have been taken yesterday.\u003c/p>\n\u003cp>One subject reclines seductively on the sidewalk, holding a dripping popsicle to their lips. Personal belongings and the corner of a tent can be seen in the background, just out of focus. In another shot, a tough-looking greaser holds his chihuahua up to his face for a kiss; his knuckle tattoos read FUCK COPS. It is in these contrasts that Hugo’s subjects reveal themselves, undefined by their circumstances as much as they remain the very fabric of the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The issues the work raises dip into both art history and local politics. Both concern the agency of the people pictured.\u003c/p>\n\u003cp>On the art historical side, there’s a question of ethics and exploitation. Some subjects — those included in this exhibition — were willing participants, clearly posing for the camera, while others in the larger series were clearly not, and can be seen experiencing episodes of mental illness. In the case of willing participants, portraiture offers its subjects an opportunity to be seen on their own terms. Even so, there’s an argument to be made that this kind of photography exploits its subject’s hardships for art’s sake. Such concerns are one of the reasons Hugo sat on the work for so long.\u003c/p>\n\u003cfigure id=\"attachment_13964952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg\" alt=\"Corner of white-walled gallery with three large-scale color photographs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Californian Wildflowers’ at Jonathan Carver Moore. \u003ccite>(Courtesy Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Photography is inherently voyeuristic,” Hugo says. “That’s its problem, but also its energy. And you’re never going to resolve that.”\u003c/p>\n\u003cp>In two different pictures hanging on opposite walls of the gallery, women stare earnestly at the camera, one smiling, one frowning, both less interested in the opportunity to perform than with the chance to be seen. Their elegiac expressions reveal a lack of any pretense, just an attempt to make a direct connection with the camera. Were they yearning to be seen? Could they know their likenesses would hang on a gallery wall, 10 years later? Or were they imploring Hugo for something — something more than a picture?\u003c/p>\n\u003cp>Representation, agency and their underlying power dynamics have long troubled documentary photography, and raise questions perhaps as tired as they are essential to the discourse. There’s a grand tradition of photographers turning their lenses on subjects less fortunate than themselves, including \u003ca href=\"https://fraenkelgallery.com/artists/diane-arbus\">Diane Arbus\u003c/a>, who photographed social outcasts; \u003ca href=\"https://jimgoldberg.com/\">Jim Goldberg\u003c/a>, who documented teen homelessness with \u003ci>\u003ca href=\"https://jimgoldberg.com/projects/raised-by-wolves\">Raised by Wolves\u003c/a>\u003c/i>; or Katy Grannan, whose series \u003cem>\u003ca href=\"https://fraenkelgallery.com/exhibitions/katy-grannan-boulevard\">Boulevard\u003c/a>\u003c/em> presents strangers the artist met on the streets of San Francisco and Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13964949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg\" alt=\"Person sits on sidewalk with popsicle in hand, looks directly at camera\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Questions of agency and representation are also part of the larger narrative surrounding the Tenderloin, where unhoused residents are often described with \u003ca href=\"https://www.sfexaminer.com/news/housing/jordan-neely-death-a-violent-result-of-anti-homeless-views/article_c982c2c8-ef4e-11ed-a904-2f05e1ba149a.html\">dehumanizing rhetoric\u003c/a>. San Francisco officials have recently \u003ca href=\"https://www.kqed.org/news/12000606/scenes-from-san-franciscos-unhoused-encampment-sweeps\">intensified sweeps of homeless encampments\u003c/a> under threat from Governor Gavin Newsom. In January, the city’s Department of Homelessness and Supportive Housing identified 8,323 people as unhoused in the \u003ca href=\"https://hsh.sfgov.org/about/research-and-reports/pit/\">annual point-in-time count\u003c/a>, including 1,198 unhoused youth.\u003c/p>\n\u003cp>“People are going to have to go somewhere,” Hugo says, speaking to the potential ineffectiveness of the sweeps and \u003ca href=\"https://www.kqed.org/news/11999880/we-gotta-be-somewhere-unhoused-californians-react-to-newsoms-crackdown\">echoing the sentiments\u003c/a> of unhoused individuals themselves. “You might as well actually deal with the issue because it’s not going to just go away.”\u003c/p>\n\u003cp>\u003cem>Californian Wildflowers\u003c/em> insists on the presence of people who the less marginalized apparently don’t want to see. Hugo’s photographs cast them in a multidimensional light, making clear the humanity of a community, all too often overlooked, even by fellow San Franciscans. \u003c/p>\n\u003cp>“People in the surrounding neighborhoods look at the people in the Tenderloin like they’re so different from them,” says Moore, who has lived in the neighborhood since moving to San Francisco in 2016. “I don’t see it that way. When I lived at Golden Gate and Larkin, in the thick of the Tenderloin, there was open drug dealing and things happening out there and those were the same people who would open the door for me to get into my building when I was carrying groceries.”\u003c/p>\n\u003cp>There’s beauty here, Hugo’s work shows us. What does it tell us about ourselves that it may take the reframing of that beauty as art in order for us to see it?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/15-californian-wildflowers-solo-presentation-from-pieter-hugo/overview/\">Californian Wildflowers\u003c/a>’ is on view at Jonathan Carver Moore (966 Market St., San Francisco) through Nov. 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: El Grito de Independencia de México in San Francisco",
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"headTitle": "PHOTOS: El Grito de Independencia de México in San Francisco | KQED",
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"content": "\u003cp>The annual El Grito celebration took place Sunday in San Francisco’s Civic Center Plaza on Sunday, with music, food, dancing, Lucha Libre wrestling and more. \u003c/p>\n\u003cp>A collaboration between the city and the Consulate General of Mexico in San Francisco, El Grito celebrates Mexico’s independence from Spain. The official civic ceremony included the mayor of San Francisco, London Breed, and the Consul General of Mexico Ana Luisa Vallejo Barba. \u003c/p>\n\u003cp>Photographer Estefany Gonzalez was on the scene to capture the celebration’s joy and determination. See photos of the festivities below. \u003c/p>\n\u003cfigure id=\"attachment_13964308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Guerrero, 43, watches dancers perform at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A luchador leaps off the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964320\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nelea Del Toro, 17, left, and Kimberly Lopez, 18, members of Ballet Folklorico Mexicano de Carlos Moreno, pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964316\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Ahumada, 40, wears bandoliers across her chest at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Ahumada traveled from Santa Cruz to attend the event and represent her culture with love and respect. “Representar la cultura con mucho amor y mucho respeto,” Ahumada said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Asociacion Mayab performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964315\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A person in the audience sings along as Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Jauregue, 57, and his dog Rusty pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Jauregue was among the several attendees who brought their dogs to the event. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964331\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Domingo Badillo, center, tears up as Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ana Luisa Vallejo Barba, left, and Mayor London Breed perform the traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964327\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rincon, 29, wears a blue mariachi outfit at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964295\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca Coyolxauqui performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">California State Senator Scott Wiener speaks at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964323\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luchadores duke it out on the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Julio Islas, left, and Natalia Santos, right, attend the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco with their children and Islas’s mother, Linda Islas, on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964302\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ballet Folklorico Mexicano de Carlos Moreno performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A man identifying as “El charro de San Francisco” wears a unique outfit he handcrafted to the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964313\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Rosalia Dzul, 26, left, and Mary Dzul, 30, wear marching eye shadow in the colors of the Méxican flag at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather late into the night at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Hispanic Heritage Month kicked off at San Francisco's Civic Center in a vibrant, colorful celebration. ",
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"title": "PHOTOS: El Grito de Independencia de México in San Francisco | KQED",
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"headline": "PHOTOS: El Grito de Independencia de México in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual El Grito celebration took place Sunday in San Francisco’s Civic Center Plaza on Sunday, with music, food, dancing, Lucha Libre wrestling and more. \u003c/p>\n\u003cp>A collaboration between the city and the Consulate General of Mexico in San Francisco, El Grito celebrates Mexico’s independence from Spain. The official civic ceremony included the mayor of San Francisco, London Breed, and the Consul General of Mexico Ana Luisa Vallejo Barba. \u003c/p>\n\u003cp>Photographer Estefany Gonzalez was on the scene to capture the celebration’s joy and determination. See photos of the festivities below. \u003c/p>\n\u003cfigure id=\"attachment_13964308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Guerrero, 43, watches dancers perform at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A luchador leaps off the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964320\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nelea Del Toro, 17, left, and Kimberly Lopez, 18, members of Ballet Folklorico Mexicano de Carlos Moreno, pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964316\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Ahumada, 40, wears bandoliers across her chest at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Ahumada traveled from Santa Cruz to attend the event and represent her culture with love and respect. “Representar la cultura con mucho amor y mucho respeto,” Ahumada said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Asociacion Mayab performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964315\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A person in the audience sings along as Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Jauregue, 57, and his dog Rusty pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Jauregue was among the several attendees who brought their dogs to the event. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964331\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Domingo Badillo, center, tears up as Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ana Luisa Vallejo Barba, left, and Mayor London Breed perform the traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964327\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rincon, 29, wears a blue mariachi outfit at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964295\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca Coyolxauqui performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">California State Senator Scott Wiener speaks at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964323\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luchadores duke it out on the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Julio Islas, left, and Natalia Santos, right, attend the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco with their children and Islas’s mother, Linda Islas, on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964302\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ballet Folklorico Mexicano de Carlos Moreno performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A man identifying as “El charro de San Francisco” wears a unique outfit he handcrafted to the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964313\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Rosalia Dzul, 26, left, and Mary Dzul, 30, wear marching eye shadow in the colors of the Méxican flag at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather late into the night at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "taylor-swift-fans-election-kamala-harris-trump-swifties",
"title": "What Do Taylor Swift Fans Expect From Her in This Election?",
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"headTitle": "What Do Taylor Swift Fans Expect From Her in This Election? | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>[aside postID='news_11999092']Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>[aside postID='arts_13960424'] Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>[aside postID='arts_13955679']Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fashion-outfits-photos-outside-lands-2024",
"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024",
"publishDate": 1723478466,
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"headTitle": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024 | KQED",
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"content": "\u003cp>Music festivals like Outside Lands always bring out hot fits — even in Golden Gate Park’s chilly, foggy mist. This past weekend, photographer Estefany Gonzalez was on the scene at Outside Lands for photos of fans and their festival fashion.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">See photos and read about the weekend’s performances here\u003c/a>\u003c/em>\u003c/strong>. \u003c/p>\n\u003cfigure id=\"attachment_13962488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962488\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bevon Brye wears a floral ‘Midsommar’-inspired outfit at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962507\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Teagan Paris (left) and Emily Izenman kiss as they wait for Chappell Roan to take the stage at Outside Lands on Sunday, Aug. 11, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962497\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ajani Purnell (center) and Lie Burgess dance in front of the Sutro Stage as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962517\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Lopez (center) dances to “Hot To Go!” as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962430\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vyvy Nguyen (center) and friends wear matching friendship bracelets at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Grace Stephenson, Robin Nguyen and Frank Ortiz watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brian Andrews and his daughter Chloe Andrews watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962423\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Addison Overbay (center) watches The Japanese House perform from the front row of the Lands End Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric and Rose Dosier cheer as they are pronounced husband and wife at Outside Lands on Friday, Aug. 9, 2024. The Dosiers are among many couples tying the knot at this year’s festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Shirley Shao,Paula Choi, and Paul Hanna strike a pose in their space inspired outfits at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Gary Payton II poses for a portrait at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962466\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Robinson crowd surfs as Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962496\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anabelle Martin and Christian Martin dance as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962415\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13962415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Sean Ryan dons a faux-fur coat he found on OfferUp to stay warm and stylish at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962498\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival goers gather in front of the Lands End Stage to watch Sabrina Carpenter headline Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962508\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Gaing (center) cheers from the front row of the Lands End Stage as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Brown (left) and Emily Koehler watch Chappell Roan perform at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexandro Cervantes waves their wig in the air as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Rose (left) and Mike Derb watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Walter (left) and Dre Jameson blow bubbles at the Soma Stage as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left) and Yvie Oddly pose for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen and Kyree Lewis (center) dance as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962533\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd in front of the Land End Stage clears as Sturgill Simpson set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Fans showed up and showed out at Outside Lands in their freshest fits.",
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"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music festivals like Outside Lands always bring out hot fits — even in Golden Gate Park’s chilly, foggy mist. This past weekend, photographer Estefany Gonzalez was on the scene at Outside Lands for photos of fans and their festival fashion.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">See photos and read about the weekend’s performances here\u003c/a>\u003c/em>\u003c/strong>. \u003c/p>\n\u003cfigure id=\"attachment_13962488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962488\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bevon Brye wears a floral ‘Midsommar’-inspired outfit at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962507\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Teagan Paris (left) and Emily Izenman kiss as they wait for Chappell Roan to take the stage at Outside Lands on Sunday, Aug. 11, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962497\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ajani Purnell (center) and Lie Burgess dance in front of the Sutro Stage as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962517\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Lopez (center) dances to “Hot To Go!” as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962430\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vyvy Nguyen (center) and friends wear matching friendship bracelets at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Grace Stephenson, Robin Nguyen and Frank Ortiz watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brian Andrews and his daughter Chloe Andrews watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962423\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Addison Overbay (center) watches The Japanese House perform from the front row of the Lands End Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric and Rose Dosier cheer as they are pronounced husband and wife at Outside Lands on Friday, Aug. 9, 2024. The Dosiers are among many couples tying the knot at this year’s festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Shirley Shao,Paula Choi, and Paul Hanna strike a pose in their space inspired outfits at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Gary Payton II poses for a portrait at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962466\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Robinson crowd surfs as Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962496\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anabelle Martin and Christian Martin dance as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962415\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13962415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Sean Ryan dons a faux-fur coat he found on OfferUp to stay warm and stylish at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962498\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival goers gather in front of the Lands End Stage to watch Sabrina Carpenter headline Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962508\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Gaing (center) cheers from the front row of the Lands End Stage as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Brown (left) and Emily Koehler watch Chappell Roan perform at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexandro Cervantes waves their wig in the air as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Rose (left) and Mike Derb watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Walter (left) and Dre Jameson blow bubbles at the Soma Stage as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left) and Yvie Oddly pose for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen and Kyree Lewis (center) dance as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962533\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd in front of the Land End Stage clears as Sturgill Simpson set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson",
"title": "Outside Lands Belonged to Chappell Roan",
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"headTitle": "Outside Lands Belonged to Chappell Roan | KQED",
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"content": "\u003cp>Without a doubt, 2024 was Chappell Roan’s Outside Lands. She was already a pop star in the making when the festival booked her months ago. But on Sunday at 4 p.m., as she pranced across the stage in a sequined leotard singing the opening lines of “Femininomenon,” she became the center of gravity, eclipsing the actual headliners.\u003c/p>\n\u003cp>Vocally, Roan is a maximalist: She packs a lot into her songwriting, and tracks like “Hot To Go” and “Red Wine Supernova” show her range. She belted out with power, seduced the audience in a husky near-whisper and then talked-sang in sassy call-and-responses that everyone could sing along to. Her lyrics were often displayed on screen, as if to remind the audience that not only does she want to impress you — she wants you to feel like you’re part of this.\u003c/p>\n\u003cfigure id=\"attachment_13962515\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While dancing during “After Midnight,” a coy, spicy track about making trouble (“I love a little drama / Let’s start a bar fight”), Roan landed into the splits like a drag queen. And in her darkly funny revenge song “My Kink Is Karma,” she got on her knees and bent over backwards while delivering the track’s psychosexual climax.\u003c/p>\n\u003cp>[aside postID='arts_13962557']“Pink Pony Club” was the scream-along moment of collective catharsis fans seemed to be waiting for. The high-drama song might be a little tongue-in-cheek on the surface, but its central conflict — a gay club go-go dancer defending her job to a disapproving mother (“I’m just having fun / on the stage in my heels / it’s where I belong”) — clearly resonated with everyone who’s had to fight for individuality within their family of origin, whether they’re queer, straight, 16 or 46.\u003c/p>\n\u003cfigure id=\"attachment_13962510\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the screen above the stage showed aerial shots of the massive audience dotted with pink cowboy hats, it was hard not to feel vertigo looking down at sea of people jumping up and down and putting their hands up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roan is good at creating a spectacle, but her set proved that her astronomical rise is a product not of gimmicks or virality, but of raw talent. I haven’t seen an underdog ascend to greatness quite like this since the Warriors clinched their victory in the 2015 NBA finals and launched a dynasty. As a fan, you can feel that Roan is on the cusp of something magnificent, and it’s thrilling to watch. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13962417\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shaboozey performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shaboozey took Golden Gate Park down south\u003c/h2>\n\u003cp>Shaboozey showed immediate gravitas on stage, and his voice was potent, coarse and honeyed all at once as he spun invisible lassos and threw his mic up in the air Friday afternoon. The Fairfax, Virginia artist, whose music melds hip-hop country and rock — and who appeared twice on Beyoncé’s \u003ci>Cowboy Carter\u003c/i> album — sounded as good in person as he does recorded, if not better.\u003c/p>\n\u003cp>He pivoted easily from more heavy songs like “East of the Massanutten,” about leaving his hometown, to upbeat bops like “A Bar Song (Tipsy),” which had him tipping his red solo cup to christen the stage with beer. Sepia visuals of wild horses, the open road shimmering in the southern heat and a pickup truck under a starry sky helped transport fans during Shaboozey’s energetic, hearty and salt-of-the-earth set. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A dry set for Tyla\u003c/h2>\n\u003cp>Tyla’s highly anticipated Friday appearance turned out to be more anticipation than performance — the artist was over 30 minutes late. Her presence felt a little lackluster, too, maybe because she had so little time to actually be present. But in the four songs that she fit in, Tyla still wowed her audience, whose roars were increasingly deafening with each undulation of her body, especially to her viral song “Water,” which has had folks all over the internet pouring water all over themselves while twerking.\u003c/p>\n\u003cp>Unfortunately, the singer left the stage as quickly as she entered it, her enormous prop inflatable tiger collapsing back to the ground in a pitiful heap as festival employees prepared the stage for Kevin Abstract. Audience members, though visibly disappointed, were still murmuring how incredible she was. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962449\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Caesar performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Daniel Caesar really was Friday’s ‘Best Part’\u003c/h2>\n\u003cp>If Tyla left more to be desired, Daniel Caesar gave the people what they wanted for as long as he could. While the Killers headlined Friday, Caesar arrived on the smaller Sutro stage in a shroud of fog that accentuated his heavenly vocals in front of a jam-packed crowd. He was captivating for over 15 songs straight. From newer hits like “Always” (from his 2023 album, \u003cem>Never Enough\u003c/em>) to classics burned into our core romantic memories like “Best Part,” the crowd was right there with him, word for word. But the jewel of Caesar’s performance came as he seemingly ended his set only to suddenly reappear in a nearby grove of Eucalyptus trees singing his cover of Kanye’s “Street Lights.” The moment was cut short by the festival, but was beautiful nonetheless. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962455\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sabrina Carpenter headlines Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sabrina Carpenter brought out Kacey Musgraves\u003c/h2>\n\u003cp>Let’s get this out of the way: Sabrina Carpenter did a great job. “It’s my first time headlining a festival,” she said on Saturday night before thanking the crowd — but you couldn’t really tell at first glance. Her setlist had its peaks and valleys: A highpoint was an epic duet of “These Boots Are Made for Walkin’” with surprise guest Kacey Musgraves. Carpenter’s ballads, however, came off as dreary, and are proving to be her greatest weakness as a songwriter. Nonetheless, her humor shined through during performances of smash hits “Espresso” and “Nonsense,” the latter of which included a special pseudo-Shakespearean outro: “Soon cometh my album, so exciting / My heart doth pound beneath my breasts, so mighty / Outside Lands, it’s like thou art inside me.” \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003ch2>Grace Jones showed club kids how it’s done\u003c/h2>\n\u003cp>Fashion icon and dance music legend Grace Jones set the tone as soon as the curtains parted to reveal her suspended midair while sporting an approximately 20-foot-long gown. The entertainer extraordinaire went on to change into different getups for nearly every song, taking the audience on a journey from 1981’s “Nightclubbing” to church and even her native Jamaica. “I’m gonna pretend I’m hot,” she joked after experiencing the brutal San Francisco chill we’re all too familiar with. Oozing with charisma for the whole hour, the superstar ended her set by getting herself seated on the shoulders of a festival staffer, who carried Jones along the barricade to greet the audience. By this point, Jones had clearly won over even the younger-leaning Sabrina Carpenter fans, who were patiently camping out for Carpenter to take the stage. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962463\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dolores’ drag stage rivaled the main stage\u003c/h2>\n\u003cp>Over at Dolores’ Stage, San Francisco queer nightclub Oasis curated drag performances worthy of the headliner slot. SF drag powerhouse Nicki Jizz MCed a captivating 90-minute version of the club’s recurring all-Black drag show, Reparations, which featured a 12-minute tribute to Beyoncé’s Renaissance World Tour from local queen Mahlae Balenciaga and an energetic “brat summer” number from Jax. \u003cem>RuPaul’s Drag Race\u003c/em> winner Yvie Oddly closed out the show, highlighting her out-there style. She included a history lesson, too: “It blows me away to still get to do things like this,” Oddly proclaimed before showing a compilation of political figures speaking out against LGBTQ+ rights, reminding the audience of what’s at stake in the upcoming elections for trans and queer people of color in this country. And that was the perfect message to end on after a remarkably well-executed show. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962528\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Victoria Monét performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Victoria Monét got her flowers\u003c/h2>\n\u003cp>Despite heavy Golden Gate Park mist coating the stage, Victoria Monét threw down. The R&B star emerged in a pinstriped suit, hat downturned, flanked by four dancers who popped their hips to “Cadillac (A Pimp’s Anthem)” while working their pimp canes like poles. Monét’s voice was sturdy and strong, unassisted by any sort of backing track, as she performed an hour straight of athletic choreo that called to mind 2000s divas like Ciara.\u003c/p>\n\u003cp>After stripping down to a brown ensemble of a crop top and chaps, Monét was giving sexy and self-assured, but she also allowed herself to let loose and be playful. During “Stop (Askin’ Me 4Shyt),” she threw in an ad lib: “Stop acting like the Bay Area don’t got some of the finest women in the world.” Later, during “Smoke,” she did a lap around the audience and got audibly emotional when a fan handed her a bouquet of flowers. The moment felt surprisingly intimate, even as it happened on a massive festival stage. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962535\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson headlines Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A disjointed festival finale\u003c/h2>\n\u003cp>Sturgill Simpson is clearly a talent, but Outside Lands severely miscalculated, and did him a disservice, when they booked him to headline the main stage Sunday. The country star was in prime fighting shape after a three-year hiatus from performing due to a vocal injury. He had a band of the highest order, with instrumentalists seamlessly switching between guitar and lap steel, keys and saxophone as Simpson shredded on his guitar.\u003c/p>\n\u003cp>A dedicated group of head-banging, foot-stomping, hat-tipping fans were feeling it. But in my years of covering this festival, I’ve never seen such a sparse crowd for a headliner, especially one giving it their all like this. That was disappointing.\u003c/p>\n\u003cfigure id=\"attachment_13962534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Will Kirkland (right) stands in the front row at the Lands End Stage as Sturgill Simpson’s set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Outside Lands took a risk by stacking the lineup with country acts this year. But San Francisco isn’t much of a country town, and the audience continued to atrophy from Simpson’s set over to Kaytranada’s. The Canadian house music producer and DJ was presiding over a massive dance party on the other side of the park, and one couldn’t help but think that the booking didn’t allow for either act to fully shine. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>More performers at Outside Lands:\u003c/h3>\n\u003cfigure id=\"attachment_13962531\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962501\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962501\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fletcher performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962440\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962495\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mel 4Ever performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962462\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay performs Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962487\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962487\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962421\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Japanese House performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962479\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Yvie Oddly performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Other festival performers shined, but the Midwest Princess owned the weekend.",
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"title": "Outside Lands Belonged to Chappell Roan: Review, Photos | KQED",
"description": "Recapping the 2024 festival, with highlights Grace Jones, Victoria Monét, Sabrina Carpenter, Daniel Caesar and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without a doubt, 2024 was Chappell Roan’s Outside Lands. She was already a pop star in the making when the festival booked her months ago. But on Sunday at 4 p.m., as she pranced across the stage in a sequined leotard singing the opening lines of “Femininomenon,” she became the center of gravity, eclipsing the actual headliners.\u003c/p>\n\u003cp>Vocally, Roan is a maximalist: She packs a lot into her songwriting, and tracks like “Hot To Go” and “Red Wine Supernova” show her range. She belted out with power, seduced the audience in a husky near-whisper and then talked-sang in sassy call-and-responses that everyone could sing along to. Her lyrics were often displayed on screen, as if to remind the audience that not only does she want to impress you — she wants you to feel like you’re part of this.\u003c/p>\n\u003cfigure id=\"attachment_13962515\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While dancing during “After Midnight,” a coy, spicy track about making trouble (“I love a little drama / Let’s start a bar fight”), Roan landed into the splits like a drag queen. And in her darkly funny revenge song “My Kink Is Karma,” she got on her knees and bent over backwards while delivering the track’s psychosexual climax.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pink Pony Club” was the scream-along moment of collective catharsis fans seemed to be waiting for. The high-drama song might be a little tongue-in-cheek on the surface, but its central conflict — a gay club go-go dancer defending her job to a disapproving mother (“I’m just having fun / on the stage in my heels / it’s where I belong”) — clearly resonated with everyone who’s had to fight for individuality within their family of origin, whether they’re queer, straight, 16 or 46.\u003c/p>\n\u003cfigure id=\"attachment_13962510\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the screen above the stage showed aerial shots of the massive audience dotted with pink cowboy hats, it was hard not to feel vertigo looking down at sea of people jumping up and down and putting their hands up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roan is good at creating a spectacle, but her set proved that her astronomical rise is a product not of gimmicks or virality, but of raw talent. I haven’t seen an underdog ascend to greatness quite like this since the Warriors clinched their victory in the 2015 NBA finals and launched a dynasty. As a fan, you can feel that Roan is on the cusp of something magnificent, and it’s thrilling to watch. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13962417\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shaboozey performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shaboozey took Golden Gate Park down south\u003c/h2>\n\u003cp>Shaboozey showed immediate gravitas on stage, and his voice was potent, coarse and honeyed all at once as he spun invisible lassos and threw his mic up in the air Friday afternoon. The Fairfax, Virginia artist, whose music melds hip-hop country and rock — and who appeared twice on Beyoncé’s \u003ci>Cowboy Carter\u003c/i> album — sounded as good in person as he does recorded, if not better.\u003c/p>\n\u003cp>He pivoted easily from more heavy songs like “East of the Massanutten,” about leaving his hometown, to upbeat bops like “A Bar Song (Tipsy),” which had him tipping his red solo cup to christen the stage with beer. Sepia visuals of wild horses, the open road shimmering in the southern heat and a pickup truck under a starry sky helped transport fans during Shaboozey’s energetic, hearty and salt-of-the-earth set. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A dry set for Tyla\u003c/h2>\n\u003cp>Tyla’s highly anticipated Friday appearance turned out to be more anticipation than performance — the artist was over 30 minutes late. Her presence felt a little lackluster, too, maybe because she had so little time to actually be present. But in the four songs that she fit in, Tyla still wowed her audience, whose roars were increasingly deafening with each undulation of her body, especially to her viral song “Water,” which has had folks all over the internet pouring water all over themselves while twerking.\u003c/p>\n\u003cp>Unfortunately, the singer left the stage as quickly as she entered it, her enormous prop inflatable tiger collapsing back to the ground in a pitiful heap as festival employees prepared the stage for Kevin Abstract. Audience members, though visibly disappointed, were still murmuring how incredible she was. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962449\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Caesar performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Daniel Caesar really was Friday’s ‘Best Part’\u003c/h2>\n\u003cp>If Tyla left more to be desired, Daniel Caesar gave the people what they wanted for as long as he could. While the Killers headlined Friday, Caesar arrived on the smaller Sutro stage in a shroud of fog that accentuated his heavenly vocals in front of a jam-packed crowd. He was captivating for over 15 songs straight. From newer hits like “Always” (from his 2023 album, \u003cem>Never Enough\u003c/em>) to classics burned into our core romantic memories like “Best Part,” the crowd was right there with him, word for word. But the jewel of Caesar’s performance came as he seemingly ended his set only to suddenly reappear in a nearby grove of Eucalyptus trees singing his cover of Kanye’s “Street Lights.” The moment was cut short by the festival, but was beautiful nonetheless. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962455\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sabrina Carpenter headlines Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sabrina Carpenter brought out Kacey Musgraves\u003c/h2>\n\u003cp>Let’s get this out of the way: Sabrina Carpenter did a great job. “It’s my first time headlining a festival,” she said on Saturday night before thanking the crowd — but you couldn’t really tell at first glance. Her setlist had its peaks and valleys: A highpoint was an epic duet of “These Boots Are Made for Walkin’” with surprise guest Kacey Musgraves. Carpenter’s ballads, however, came off as dreary, and are proving to be her greatest weakness as a songwriter. Nonetheless, her humor shined through during performances of smash hits “Espresso” and “Nonsense,” the latter of which included a special pseudo-Shakespearean outro: “Soon cometh my album, so exciting / My heart doth pound beneath my breasts, so mighty / Outside Lands, it’s like thou art inside me.” \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003ch2>Grace Jones showed club kids how it’s done\u003c/h2>\n\u003cp>Fashion icon and dance music legend Grace Jones set the tone as soon as the curtains parted to reveal her suspended midair while sporting an approximately 20-foot-long gown. The entertainer extraordinaire went on to change into different getups for nearly every song, taking the audience on a journey from 1981’s “Nightclubbing” to church and even her native Jamaica. “I’m gonna pretend I’m hot,” she joked after experiencing the brutal San Francisco chill we’re all too familiar with. Oozing with charisma for the whole hour, the superstar ended her set by getting herself seated on the shoulders of a festival staffer, who carried Jones along the barricade to greet the audience. By this point, Jones had clearly won over even the younger-leaning Sabrina Carpenter fans, who were patiently camping out for Carpenter to take the stage. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962463\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dolores’ drag stage rivaled the main stage\u003c/h2>\n\u003cp>Over at Dolores’ Stage, San Francisco queer nightclub Oasis curated drag performances worthy of the headliner slot. SF drag powerhouse Nicki Jizz MCed a captivating 90-minute version of the club’s recurring all-Black drag show, Reparations, which featured a 12-minute tribute to Beyoncé’s Renaissance World Tour from local queen Mahlae Balenciaga and an energetic “brat summer” number from Jax. \u003cem>RuPaul’s Drag Race\u003c/em> winner Yvie Oddly closed out the show, highlighting her out-there style. She included a history lesson, too: “It blows me away to still get to do things like this,” Oddly proclaimed before showing a compilation of political figures speaking out against LGBTQ+ rights, reminding the audience of what’s at stake in the upcoming elections for trans and queer people of color in this country. And that was the perfect message to end on after a remarkably well-executed show. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962528\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Victoria Monét performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Victoria Monét got her flowers\u003c/h2>\n\u003cp>Despite heavy Golden Gate Park mist coating the stage, Victoria Monét threw down. The R&B star emerged in a pinstriped suit, hat downturned, flanked by four dancers who popped their hips to “Cadillac (A Pimp’s Anthem)” while working their pimp canes like poles. Monét’s voice was sturdy and strong, unassisted by any sort of backing track, as she performed an hour straight of athletic choreo that called to mind 2000s divas like Ciara.\u003c/p>\n\u003cp>After stripping down to a brown ensemble of a crop top and chaps, Monét was giving sexy and self-assured, but she also allowed herself to let loose and be playful. During “Stop (Askin’ Me 4Shyt),” she threw in an ad lib: “Stop acting like the Bay Area don’t got some of the finest women in the world.” Later, during “Smoke,” she did a lap around the audience and got audibly emotional when a fan handed her a bouquet of flowers. The moment felt surprisingly intimate, even as it happened on a massive festival stage. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962535\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson headlines Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A disjointed festival finale\u003c/h2>\n\u003cp>Sturgill Simpson is clearly a talent, but Outside Lands severely miscalculated, and did him a disservice, when they booked him to headline the main stage Sunday. The country star was in prime fighting shape after a three-year hiatus from performing due to a vocal injury. He had a band of the highest order, with instrumentalists seamlessly switching between guitar and lap steel, keys and saxophone as Simpson shredded on his guitar.\u003c/p>\n\u003cp>A dedicated group of head-banging, foot-stomping, hat-tipping fans were feeling it. But in my years of covering this festival, I’ve never seen such a sparse crowd for a headliner, especially one giving it their all like this. That was disappointing.\u003c/p>\n\u003cfigure id=\"attachment_13962534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Will Kirkland (right) stands in the front row at the Lands End Stage as Sturgill Simpson’s set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Outside Lands took a risk by stacking the lineup with country acts this year. But San Francisco isn’t much of a country town, and the audience continued to atrophy from Simpson’s set over to Kaytranada’s. The Canadian house music producer and DJ was presiding over a massive dance party on the other side of the park, and one couldn’t help but think that the booking didn’t allow for either act to fully shine. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>More performers at Outside Lands:\u003c/h3>\n\u003cfigure id=\"attachment_13962531\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962501\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962501\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fletcher performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962440\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962495\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mel 4Ever performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962462\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay performs Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962487\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962487\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962421\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Japanese House performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962479\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Yvie Oddly performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "alexis-floyd-jettison-creative-photography",
"title": "For This San Ramon Photographer, There's Metamorphosis in Everything",
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"headTitle": "For This San Ramon Photographer, There’s Metamorphosis in Everything | KQED",
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"content": "\u003cp>Growing into a new and improved form of oneself is both an intimate experience and a universal concept. Photographer \u003ca href=\"https://www.instagram.com/aleexisflyd/\" target=\"_blank\" rel=\"noopener\">Alexis Floyd\u003c/a> has gone through her own metamorphosis of late, and now it’s time for the final stage: spreading her wings and showing her growth to the world.\u003c/p>\n\u003cp>Floyd’s first solo show, \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\" target=\"_blank\" rel=\"noopener\">\u003cem>Rhythm Of The Butterfly\u003c/em>\u003c/a>, showcases her stylish portrait photography on Saturday at Jettison Creative in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13962288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31%E2%80%AFAM-800x1096.png\" alt=\"A woman sits backwards on a folding chair while wearing pink boxing gloves and posing for the camera.\" width=\"800\" height=\"1096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-800x1096.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-1020x1398.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-768x1052.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Isabel poses for a knockout portrait. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floyd, a 29-year-old artist from San Ramon, admits she’s a bit nervous about her show. But even those nerves serve a purpose in the transformation process.\u003c/p>\n\u003cp>“I’ve always kind of lived my life in fear, and I was always scared of trying new things,” says Floyd during a recent phone call. But lately she’s been putting herself out there, which has helped her overcome her fears and brought about some life-changing results — including becoming an artist-in-residence at Jettison Creative.\u003c/p>\n\u003cfigure id=\"attachment_13962290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24%E2%80%AFAM-800x1185.png\" alt=\"A shirtless man sits on a park bench with his right leg folded in his lap, looking off into the distance. \" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1020x1510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-768x1137.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1037x1536.png 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Brown poses for a candid shot in the park. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Me even applying for the artist-in-residence was a leap of faith and a testament to my evolution,” says Floyd. “And you can see the growth in my work. It’s different than anything I’ve posted on social media or on my website.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, in addition to her vibrant photography, Floyd is debuting other creative endeavors: collages made from plants, and jewelry made of cowrie shells. A nod to both African American and African culture, the pieces are representative of her identity as a Black young woman.\u003c/p>\n\u003cp>“My work is very intimate,” attests Floyd, noting that her art is about rebirth, transformation and perseverance, as well as spirituality. “My hope for everything I do,” says Floyd, “is for my work to be representative of God’s love and light.”\u003c/p>\n\u003cfigure id=\"attachment_13962291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg\" alt=\"A woman in a bedazzled grey hat strikes a pose that allows you to see her gold teeth and dark red assemble.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meka Jannali showing how to properly wear a bedazzled hat and a gold grill. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Floyd wants her work to be a mirror for attendees, so they can see themselves in her work, and recognize the progress that \u003cem>they’ve\u003c/em> made.\u003c/p>\n\u003cp>“I want this to be an immersive experience,” says Floyd, “and a place for healing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alexis Floyd’s ‘Rhythm Of The Butterfly’ is a free exhibition on Saturday, Aug. 10, at Jettison Creative in San Francisco from 5 p.m. to 9 p.m. \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing into a new and improved form of oneself is both an intimate experience and a universal concept. Photographer \u003ca href=\"https://www.instagram.com/aleexisflyd/\" target=\"_blank\" rel=\"noopener\">Alexis Floyd\u003c/a> has gone through her own metamorphosis of late, and now it’s time for the final stage: spreading her wings and showing her growth to the world.\u003c/p>\n\u003cp>Floyd’s first solo show, \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\" target=\"_blank\" rel=\"noopener\">\u003cem>Rhythm Of The Butterfly\u003c/em>\u003c/a>, showcases her stylish portrait photography on Saturday at Jettison Creative in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13962288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31%E2%80%AFAM-800x1096.png\" alt=\"A woman sits backwards on a folding chair while wearing pink boxing gloves and posing for the camera.\" width=\"800\" height=\"1096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-800x1096.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-1020x1398.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-768x1052.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Isabel poses for a knockout portrait. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floyd, a 29-year-old artist from San Ramon, admits she’s a bit nervous about her show. But even those nerves serve a purpose in the transformation process.\u003c/p>\n\u003cp>“I’ve always kind of lived my life in fear, and I was always scared of trying new things,” says Floyd during a recent phone call. But lately she’s been putting herself out there, which has helped her overcome her fears and brought about some life-changing results — including becoming an artist-in-residence at Jettison Creative.\u003c/p>\n\u003cfigure id=\"attachment_13962290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24%E2%80%AFAM-800x1185.png\" alt=\"A shirtless man sits on a park bench with his right leg folded in his lap, looking off into the distance. \" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1020x1510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-768x1137.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1037x1536.png 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Brown poses for a candid shot in the park. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Me even applying for the artist-in-residence was a leap of faith and a testament to my evolution,” says Floyd. “And you can see the growth in my work. It’s different than anything I’ve posted on social media or on my website.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, in addition to her vibrant photography, Floyd is debuting other creative endeavors: collages made from plants, and jewelry made of cowrie shells. A nod to both African American and African culture, the pieces are representative of her identity as a Black young woman.\u003c/p>\n\u003cp>“My work is very intimate,” attests Floyd, noting that her art is about rebirth, transformation and perseverance, as well as spirituality. “My hope for everything I do,” says Floyd, “is for my work to be representative of God’s love and light.”\u003c/p>\n\u003cfigure id=\"attachment_13962291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg\" alt=\"A woman in a bedazzled grey hat strikes a pose that allows you to see her gold teeth and dark red assemble.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meka Jannali showing how to properly wear a bedazzled hat and a gold grill. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Floyd wants her work to be a mirror for attendees, so they can see themselves in her work, and recognize the progress that \u003cem>they’ve\u003c/em> made.\u003c/p>\n\u003cp>“I want this to be an immersive experience,” says Floyd, “and a place for healing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alexis Floyd’s ‘Rhythm Of The Butterfly’ is a free exhibition on Saturday, Aug. 10, at Jettison Creative in San Francisco from 5 p.m. to 9 p.m. \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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