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"content": "\n\u003cp>Natalie Baszile’s new novel, \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/709316/friends-and-family-by-natalie-baszile/\">Friends and Family\u003c/a>\u003c/em>, examines America’s deepest fault line: race. Two progressive \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Franciscan\u003c/a> mothers, one Black and one white, face the end of a twelve-year, seemingly ironclad friendship after their children have a shocking encounter with the police at one of their homes that inflames one family and causes the other to retreat. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"alignright size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"994\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family.jpg\" alt=\"\" class=\"wp-image-13994496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family-768x1159.jpg 768w\" sizes=\"auto, (max-width: 994px) 100vw, 994px\" />\u003cfigcaption class=\"wp-element-caption\">‘Friends and Family’ by Natalie Baszile. (Penguin Random House)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>The plot was inspired by a real-life incident at the \u003cem>Queen Sugar\u003c/em> author and filmmaker’s Bay Area home in 2016. With her permission, her daughter had invited friends over ahead of a volunteering stint at their high school the next day. To the family’s shock, a neighbor they didn’t know well called the police on the young people without warning. \u003c/p>\n\n\n\n\u003cp>“We went off on a trip for the weekend only to get a call saying that the police were at our house, squad cars out in the street, and they were questioning the only other Black kid who was at our home,” Baszile recalls. \u003c/p>\n\n\n\n\u003cp>The police, who claimed to be seeking an armed suspect, left after realizing the teenager wasn’t who they were looking for. But the traumatic situation created a connection between Baszile and the boy’s white adoptive parents that mirrors the one the book’s Black protagonist Babbette (Babs) has with her white friend Nora. \u003c/p>\n\n\n\n\u003cp>“In the wake of that police encounter … the dynamics that unfolded between our family and his family were fascinating,” Baszile shares. \u003c/p>\n\n\n\n\u003cp>Baszile had been working on a completely different novel idea after \u003cem>Queen Sugar\u003c/em>, her 2014 book that filmmaker Ava DuVernay adapted into a television series that ran for seven seasons on Oprah’s OWN network. “Then this incident happened to my family,” she explains, “and it felt so urgent and so timely that I put the other novel idea aside just to focus on this book because it really captured the zeitgeist.” \u003c/p>\n\n\n\n\u003cp>In 2016 and ’17, when the idea first germinated, “people were talking about police violence,” she says. “We’d had the Tamir Rices and the Philando Castiles. So it’s not like it was new, but I was not sure how they would resonate with the culture.” \u003c/p>\n\n\n\n\u003cp>Then came 2020. “In the wake of George Floyd, I was still writing the book,” she says, which presented “a whole new opportunity to speak to the moment.” \u003c/p>\n\n\n\n\n\n\u003cp>The incident in the book is a flashpoint for both mothers of Black children because it promptly exposes default settings that people who believe they have “done the work” thought they had overridden. \u003c/p>\n\n\n\n\u003cp>Baszile, like the book’s protagonist Babs, is part of what she calls the “integration generation,” or the first wave of Black adults who grew up in predominantly white spaces. Her experience is a stark contrast, she explains, to that of her parents in the segregated South. \u003c/p>\n\n\n\n\u003cp>“I wanted to write from the point of view of a character who was accustomed to moving in and out of these different spaces, some Black, some white, some integrated, some not,” Baszile says. “[She] still confronts her own expectations, and the assumptions that she has made, about what her relative privilege will allow her to be protected from.” \u003c/p>\n\n\n\n\u003cp>We see the world through Babs’ eyes, her biases, insecurities and pride. She is an artist who has taken on various creative careers — set design, freelance styling, publicity — and is perennially self-conscious about being the only Black family on her well-to-do block. Baszile relays this anxiety in small domestic details, such as Babs worrying about neighbors judging her for not taking the trash bins in quickly enough and validating their beliefs “about how Black folks behaved.” \u003c/p>\n\n\n\n\u003cp>Babs lives a life of ease that has insulated her for so long that the police incident feels like being struck by lightning, a freak occurrence that forever changes her. Her friendship with Nora is facilely written: solid, companionable, but with a hairline crack. Babs, while expressing gratitude for how much she has, can’t help but think of it in relation to how much more Nora has. Nora lives in a “sprawling Queen Anne Victorian” in the ultra-wealthy Pacific Heights neighborhood, while Babs describes her place in the upper-middle-class Inner Richmond as “modest.” There was always an unbreachable gap that subtly colored their relationship, and the police encounter arrives like a bomb thrown into that crevice.\u003c/p>\n\n\n\n\n\n\u003cp>Nora is the kind of white woman who went to workshops (plural) on transracial adoption before taking in her son. She identifies as an ally, seeks out advice on how to cut his hair properly and shows him movies with “positive” Black characters. She has read W. E. B. Du Bois’ \u003cem>The Souls of Black Folk\u003c/em>, and engages in prison reform advocacy. Yet she is also old money, with a great-grandfather who made a fortune in the railroad industry, a housekeeper who prepares her meals and an inherited membership in an elitist white book club made up of women from the city’s “best” families. \u003c/p>\n\n\n\n\u003cp>Nora’s contradictions feel small and bearable to Babs — who proudly thinks of her not as a “White Girl” but a “Girl Who Is White” — until their disparate responses to the police incident make the friction unbearable.\u003c/p>\n\n\n\n\u003cp>Babs describes an “invisible suitcase” of emotional baggage and hurt that every Black person compulsorily carries but Nora never sees. It is a metaphor that prods a question the book explores throughout: Can we ever really know each other? It is painful to be forced to reevaluate a friendship you believed would last a lifetime. “Maybe there was a limit,” she remarks to herself about Nora’s earlier championing of Black issues, “and maybe that limit was anger.”\u003c/p>\n\n\n\n\u003cp>Much of Baszile’s previous work has been set in the South, including \u003cem>Queen Sugar\u003c/em> and \u003cem>Harvest\u003c/em>, her 2026 documentary about fourth-generation farmers in rural Louisiana. This novel represents a regional shift with personalized meaning. \u003c/p>\n\n\n\n\u003cp>“I was excited to write about the Bay Area because it’s my backyard,” Baszile shares. “[It] is flush with wealth, and all of the disparities are playing out right here. Especially in this age of technology and AI, it’s only going to get worse. So to have this conversation, not just about race, but about class and privilege and money and wealth, now seems to be even more important than it was back in 2016 or 2020.” \u003c/p>\n\n\n\n\u003cp>The Bay, she contends, feels “like it’s ground zero.” \u003c/p>\n\n\n\n\n\n\u003cp>\u003cem>Friends and Family\u003c/em> is a strong character study that mines the scary realization that deep intimacy can be undone not just by large betrayals but by small ones: a single word choice, a glance down instead of forward. It is enriched by its penetrating examination of the sinuous emotional arcs of long-term relationships of all stripes: Babs and Nora’s twelve-year interracial friendship; Babs and her husband Galen’s 25-year marriage, which is reeling from the fallout of infidelity; and the teenagers Nathan and Reese’s childhood friendship, which must survive their hormones and a shared trauma. 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"innerHTML": "\n\u003cp>The incident in the book is a flashpoint for both mothers of Black children because it promptly exposes default settings that people who believe they have “done the work” thought they had overridden. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Baszile, like the book’s protagonist Babs, is part of what she calls the “integration generation,” or the first wave of Black adults who grew up in predominantly white spaces. Her experience is a stark contrast, she explains, to that of her parents in the segregated South. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“I wanted to write from the point of view of a character who was accustomed to moving in and out of these different spaces, some Black, some white, some integrated, some not,” Baszile says. “[She] still confronts her own expectations, and the assumptions that she has made, about what her relative privilege will allow her to be protected from.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>We see the world through Babs’ eyes, her biases, insecurities and pride. She is an artist who has taken on various creative careers — set design, freelance styling, publicity — and is perennially self-conscious about being the only Black family on her well-to-do block. Baszile relays this anxiety in small domestic details, such as Babs worrying about neighbors judging her for not taking the trash bins in quickly enough and validating their beliefs “about how Black folks behaved.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Babs lives a life of ease that has insulated her for so long that the police incident feels like being struck by lightning, a freak occurrence that forever changes her. Her friendship with Nora is facilely written: solid, companionable, but with a hairline crack. Babs, while expressing gratitude for how much she has, can’t help but think of it in relation to how much more Nora has. Nora lives in a “sprawling Queen Anne Victorian” in the ultra-wealthy Pacific Heights neighborhood, while Babs describes her place in the upper-middle-class Inner Richmond as “modest.” There was always an unbreachable gap that subtly colored their relationship, and the police encounter arrives like a bomb thrown into that crevice.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Nora is the kind of white woman who went to workshops (plural) on transracial adoption before taking in her son. She identifies as an ally, seeks out advice on how to cut his hair properly and shows him movies with “positive” Black characters. She has read W. E. B. Du Bois’ \u003cem>The Souls of Black Folk\u003c/em>, and engages in prison reform advocacy. Yet she is also old money, with a great-grandfather who made a fortune in the railroad industry, a housekeeper who prepares her meals and an inherited membership in an elitist white book club made up of women from the city’s “best” families. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Nora’s contradictions feel small and bearable to Babs — who proudly thinks of her not as a “White Girl” but a “Girl Who Is White” — until their disparate responses to the police incident make the friction unbearable.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Babs describes an “invisible suitcase” of emotional baggage and hurt that every Black person compulsorily carries but Nora never sees. It is a metaphor that prods a question the book explores throughout: Can we ever really know each other? It is painful to be forced to reevaluate a friendship you believed would last a lifetime. “Maybe there was a limit,” she remarks to herself about Nora’s earlier championing of Black issues, “and maybe that limit was anger.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Much of Baszile’s previous work has been set in the South, including \u003cem>Queen Sugar\u003c/em> and \u003cem>Harvest\u003c/em>, her 2026 documentary about fourth-generation farmers in rural Louisiana. This novel represents a regional shift with personalized meaning. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“I was excited to write about the Bay Area because it’s my backyard,” Baszile shares. “[It] is flush with wealth, and all of the disparities are playing out right here. Especially in this age of technology and AI, it’s only going to get worse. So to have this conversation, not just about race, but about class and privilege and money and wealth, now seems to be even more important than it was back in 2016 or 2020.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Friends and Family\u003c/em> is a strong character study that mines the scary realization that deep intimacy can be undone not just by large betrayals but by small ones: a single word choice, a glance down instead of forward. It is enriched by its penetrating examination of the sinuous emotional arcs of long-term relationships of all stripes: Babs and Nora’s twelve-year interracial friendship; Babs and her husband Galen’s 25-year marriage, which is reeling from the fallout of infidelity; and the teenagers Nathan and Reese’s childhood friendship, which must survive their hormones and a shared trauma. The novel also digs into the children’s relationships with their parents as they mature and have their ideals tested by the realities of the world.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Baszile would love for \u003cem>Friends and Family\u003c/em> to receive the screen adaptation treatment \u003cem>Queen Sugar\u003c/em> did. “There’s a lot of potential here to take this book and the conversation that I’m having and expand on it, and for this to reach an even broader audience, just like \u003cem>Queen Sugar\u003c/em>.” \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Natalie Baszile’s new novel, \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/709316/friends-and-family-by-natalie-baszile/\">Friends and Family\u003c/a>\u003c/em>, examines America’s deepest fault line: race. Two progressive \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Franciscan\u003c/a> mothers, one Black and one white, face the end of a twelve-year, seemingly ironclad friendship after their children have a shocking encounter with the police at one of their homes that inflames one family and causes the other to retreat. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"alignright size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"994\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family.jpg\" alt=\"\" class=\"wp-image-13994496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Friends-and-Family-768x1159.jpg 768w\" sizes=\"auto, (max-width: 994px) 100vw, 994px\" />\u003cfigcaption class=\"wp-element-caption\">‘Friends and Family’ by Natalie Baszile. (Penguin Random House)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>The plot was inspired by a real-life incident at the \u003cem>Queen Sugar\u003c/em> author and filmmaker’s Bay Area home in 2016. With her permission, her daughter had invited friends over ahead of a volunteering stint at their high school the next day. To the family’s shock, a neighbor they didn’t know well called the police on the young people without warning. \u003c/p>\n\n\n\n\u003cp>“We went off on a trip for the weekend only to get a call saying that the police were at our house, squad cars out in the street, and they were questioning the only other Black kid who was at our home,” Baszile recalls. \u003c/p>\n\n\n\n\u003cp>The police, who claimed to be seeking an armed suspect, left after realizing the teenager wasn’t who they were looking for. But the traumatic situation created a connection between Baszile and the boy’s white adoptive parents that mirrors the one the book’s Black protagonist Babbette (Babs) has with her white friend Nora. \u003c/p>\n\n\n\n\u003cp>“In the wake of that police encounter … the dynamics that unfolded between our family and his family were fascinating,” Baszile shares. \u003c/p>\n\n\n\n\u003cp>Baszile had been working on a completely different novel idea after \u003cem>Queen Sugar\u003c/em>, her 2014 book that filmmaker Ava DuVernay adapted into a television series that ran for seven seasons on Oprah’s OWN network. “Then this incident happened to my family,” she explains, “and it felt so urgent and so timely that I put the other novel idea aside just to focus on this book because it really captured the zeitgeist.” \u003c/p>\n\n\n\n\u003cp>In 2016 and ’17, when the idea first germinated, “people were talking about police violence,” she says. “We’d had the Tamir Rices and the Philando Castiles. So it’s not like it was new, but I was not sure how they would resonate with the culture.” \u003c/p>\n\n\n\n\u003cp>Then came 2020. “In the wake of George Floyd, I was still writing the book,” she says, which presented “a whole new opportunity to speak to the moment.” \u003c/p>\n\n\n\n\n\n\u003cp>The incident in the book is a flashpoint for both mothers of Black children because it promptly exposes default settings that people who believe they have “done the work” thought they had overridden. \u003c/p>\n\n\n\n\u003cp>Baszile, like the book’s protagonist Babs, is part of what she calls the “integration generation,” or the first wave of Black adults who grew up in predominantly white spaces. Her experience is a stark contrast, she explains, to that of her parents in the segregated South. \u003c/p>\n\n\n\n\u003cp>“I wanted to write from the point of view of a character who was accustomed to moving in and out of these different spaces, some Black, some white, some integrated, some not,” Baszile says. “[She] still confronts her own expectations, and the assumptions that she has made, about what her relative privilege will allow her to be protected from.” \u003c/p>\n\n\n\n\u003cp>We see the world through Babs’ eyes, her biases, insecurities and pride. She is an artist who has taken on various creative careers — set design, freelance styling, publicity — and is perennially self-conscious about being the only Black family on her well-to-do block. Baszile relays this anxiety in small domestic details, such as Babs worrying about neighbors judging her for not taking the trash bins in quickly enough and validating their beliefs “about how Black folks behaved.” \u003c/p>\n\n\n\n\u003cp>Babs lives a life of ease that has insulated her for so long that the police incident feels like being struck by lightning, a freak occurrence that forever changes her. Her friendship with Nora is facilely written: solid, companionable, but with a hairline crack. Babs, while expressing gratitude for how much she has, can’t help but think of it in relation to how much more Nora has. Nora lives in a “sprawling Queen Anne Victorian” in the ultra-wealthy Pacific Heights neighborhood, while Babs describes her place in the upper-middle-class Inner Richmond as “modest.” There was always an unbreachable gap that subtly colored their relationship, and the police encounter arrives like a bomb thrown into that crevice.\u003c/p>\n\n\n\n\n\n\u003cp>Nora is the kind of white woman who went to workshops (plural) on transracial adoption before taking in her son. She identifies as an ally, seeks out advice on how to cut his hair properly and shows him movies with “positive” Black characters. She has read W. E. B. Du Bois’ \u003cem>The Souls of Black Folk\u003c/em>, and engages in prison reform advocacy. Yet she is also old money, with a great-grandfather who made a fortune in the railroad industry, a housekeeper who prepares her meals and an inherited membership in an elitist white book club made up of women from the city’s “best” families. \u003c/p>\n\n\n\n\u003cp>Nora’s contradictions feel small and bearable to Babs — who proudly thinks of her not as a “White Girl” but a “Girl Who Is White” — until their disparate responses to the police incident make the friction unbearable.\u003c/p>\n\n\n\n\u003cp>Babs describes an “invisible suitcase” of emotional baggage and hurt that every Black person compulsorily carries but Nora never sees. It is a metaphor that prods a question the book explores throughout: Can we ever really know each other? It is painful to be forced to reevaluate a friendship you believed would last a lifetime. “Maybe there was a limit,” she remarks to herself about Nora’s earlier championing of Black issues, “and maybe that limit was anger.”\u003c/p>\n\n\n\n\u003cp>Much of Baszile’s previous work has been set in the South, including \u003cem>Queen Sugar\u003c/em> and \u003cem>Harvest\u003c/em>, her 2026 documentary about fourth-generation farmers in rural Louisiana. This novel represents a regional shift with personalized meaning. \u003c/p>\n\n\n\n\u003cp>“I was excited to write about the Bay Area because it’s my backyard,” Baszile shares. “[It] is flush with wealth, and all of the disparities are playing out right here. Especially in this age of technology and AI, it’s only going to get worse. So to have this conversation, not just about race, but about class and privilege and money and wealth, now seems to be even more important than it was back in 2016 or 2020.” \u003c/p>\n\n\n\n\u003cp>The Bay, she contends, feels “like it’s ground zero.” \u003c/p>\n\n\n\n\n\n\u003cp>\u003cem>Friends and Family\u003c/em> is a strong character study that mines the scary realization that deep intimacy can be undone not just by large betrayals but by small ones: a single word choice, a glance down instead of forward. It is enriched by its penetrating examination of the sinuous emotional arcs of long-term relationships of all stripes: Babs and Nora’s twelve-year interracial friendship; Babs and her husband Galen’s 25-year marriage, which is reeling from the fallout of infidelity; and the teenagers Nathan and Reese’s childhood friendship, which must survive their hormones and a shared trauma. The novel also digs into the children’s relationships with their parents as they mature and have their ideals tested by the realities of the world.\u003c/p>\n\n\n\n\u003cp>Baszile would love for \u003cem>Friends and Family\u003c/em> to receive the screen adaptation treatment \u003cem>Queen Sugar\u003c/em> did. “There’s a lot of potential here to take this book and the conversation that I’m having and expand on it, and for this to reach an even broader audience, just like \u003cem>Queen Sugar\u003c/em>.” \u003c/p>\n\n\n\n\u003cp>Television offers a different kind of flexibility for storytelling, and, she confesses, it would just be nice to see the Bay Area she knows on screen. “My fingers are crossed,” she says hopefully. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>Inside \u003ca href=\"https://www.instagram.com/maliksart/\">Malik Seneferu’s\u003c/a> arts studio, cultural movements take the form of paintings.\u003c/p>\n\n\n\n\u003cp>Situated on the hallowed grounds of the Hunters Point Shipyard, the eggshell-colored room holds brightly painted canvases that illustrate the artist’s appreciation of history, connection to the soil and love for the people.\u003c/p>\n\n\n\n\u003cp>Seneferu paints portraits that pair elements of the African Diaspora with Bay Area culture under one common philosophy: “Remain creative.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg\" alt=\"A man faces a colorful canvas as he paints in a studio.\" class=\"wp-image-13994120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, ‘Juneteenth to Black August,’ 2025. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n\n\n\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n\n\n\n\u003cp>But no matter where his work goes, he tells me, it never strays too far from where he started, or why.\u003c/p>\n\n\n\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n\n\n\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n\n\n\n\u003cp>Seneferu pushed his mother to pursue her art, but she was clear: Creating was \u003cem>his\u003c/em> thing.\u003c/p>\n\n\n\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n\n\n\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n\n\n\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n\n\n\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n\n\n\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg\" alt=\"An African American man in a brown outfit panting a giant colorful mural.\" class=\"wp-image-13994148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Artist at work: a glimpse inside of Malik Seneferu’s studio. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n\n\n\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n\n\n\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n\n\n\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n\n\n\n\u003cp>The series encompasses many Seneferu trademarks; it encapsulates key aspects of 20th century Black history while illustrating instances that’ve informed his worldview.\u003c/p>\n\n\n\n\u003cp>Having grown up with an artistic mother and a stepfather who was a gunnery sergeant in the Marines during the Vietnam War, he’s learned to speak through painting as a second artistic language. His first artistic language was hip-hop.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg\" alt=\"A table full of small painted art pieces.\" class=\"wp-image-13994289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">A table full of Malike Seneferu’s work. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n\n\n\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n\n\n\n\u003cp>“A lot of the things I do are strictly from my imagination, because it’s really defiance,” Seneferu tells me. “To be creative is to defy annihilation. That’s why I’ll always remain creative.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Situated on the hallowed grounds of the Hunters Point Shipyard, the eggshell-colored room holds brightly painted canvases that illustrate the artist’s appreciation of history, connection to the soil and love for the people.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Seneferu paints portraits that pair elements of the African Diaspora with Bay Area culture under one common philosophy: “Remain creative.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n",
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"\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n",
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"\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\"/>\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n",
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"\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Seneferu pushed his mother to pursue her art, but she was clear: Creating was \u003cem>his\u003c/em> thing.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n",
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"\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n",
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"\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n",
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"\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n",
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"\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n",
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"\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg\" alt=\"An African American man in a brown outfit panting a giant colorful mural.\" class=\"wp-image-13994148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Artist at work: a glimpse inside of Malik Seneferu’s studio.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg\" alt=\"An African American man in a brown outfit panting a giant colorful mural.\" class=\"wp-image-13994148\"/>\u003cfigcaption class=\"wp-element-caption\">Artist at work: a glimpse inside of Malik Seneferu’s studio.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n",
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"\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n"
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"innerHTML": "\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n",
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"\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n",
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"\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n"
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"alt": "A painting of a stoic looking Black young woman.",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1536x2048.jpeg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\"/>\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n",
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"\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The series encompasses many Seneferu trademarks; it encapsulates key aspects of 20th century Black history while illustrating instances that’ve informed his worldview.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Having grown up with an artistic mother and a stepfather who was a gunnery sergeant in the Marines during the Vietnam War, he’s learned to speak through painting as a second artistic language. His first artistic language was hip-hop.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n",
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"\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n",
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"\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“A lot of the things I do are strictly from my imagination, because it’s really defiance,” Seneferu tells me. “To be creative is to defy annihilation. That’s why I’ll always remain creative.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n"
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"excerpt": "Not far from where he grew up, Seneferu’s studio is a cultural lab guided by one motto: ‘Remain creative.’",
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"title": "In Hunters Point, Black History Comes Alive in Malik Seneferu’s Paintings | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Inside \u003ca href=\"https://www.instagram.com/maliksart/\">Malik Seneferu’s\u003c/a> arts studio, cultural movements take the form of paintings.\u003c/p>\n\n\n\n\u003cp>Situated on the hallowed grounds of the Hunters Point Shipyard, the eggshell-colored room holds brightly painted canvases that illustrate the artist’s appreciation of history, connection to the soil and love for the people.\u003c/p>\n\n\n\n\u003cp>Seneferu paints portraits that pair elements of the African Diaspora with Bay Area culture under one common philosophy: “Remain creative.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg\" alt=\"A man faces a colorful canvas as he paints in a studio.\" class=\"wp-image-13994120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, ‘Juneteenth to Black August,’ 2025. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n\n\n\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n\n\n\n\u003cp>But no matter where his work goes, he tells me, it never strays too far from where he started, or why.\u003c/p>\n\n\n\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n\n\n\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n\n\n\n\u003cp>Seneferu pushed his mother to pursue her art, but she was clear: Creating was \u003cem>his\u003c/em> thing.\u003c/p>\n\n\n\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n\n\n\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n\n\n\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n\n\n\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n\n\n\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg\" alt=\"An African American man in a brown outfit panting a giant colorful mural.\" class=\"wp-image-13994148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Artist at work: a glimpse inside of Malik Seneferu’s studio. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n\n\n\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n\n\n\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n\n\n\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n\n\n\n\u003cp>The series encompasses many Seneferu trademarks; it encapsulates key aspects of 20th century Black history while illustrating instances that’ve informed his worldview.\u003c/p>\n\n\n\n\u003cp>Having grown up with an artistic mother and a stepfather who was a gunnery sergeant in the Marines during the Vietnam War, he’s learned to speak through painting as a second artistic language. His first artistic language was hip-hop.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg\" alt=\"A table full of small painted art pieces.\" class=\"wp-image-13994289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">A table full of Malike Seneferu’s work. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n\n\n\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n\n\n\n\u003cp>“A lot of the things I do are strictly from my imagination, because it’s really defiance,” Seneferu tells me. “To be creative is to defy annihilation. That’s why I’ll always remain creative.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "the-best-fashion-fan-fits-hot-looks-outfits-portola-festival-2026",
"title": "The Best Fan Fits and Hot Looks at Portola Festival 2026",
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"headTitle": "The Best Fan Fits and Hot Looks at Portola Festival 2026 | KQED",
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"content": "\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n\n\n\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg\" alt=\"\" class=\"wp-image-13994326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray loves rave culture and has attended several festivals over the years.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg\" alt=\"\" class=\"wp-image-13994330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Allison Joy, 32, wears a Powerpuff Girls-inspired outfit during day two of Portola on Sunday, Sept. 27, 2026. The piece takes inspiration from the characters Buttercup, HIM, and Bubbles.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg\" alt=\"\" class=\"wp-image-13994332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jessica Carrasco, 26, wears a raccoon hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg\" alt=\"\" class=\"wp-image-13994317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg\" alt=\"\" class=\"wp-image-13994312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, at left, and bestie Derek Song pose for a portrait together during day one of Portola on Saturday, Sept. 26, 2026. The pair regularly attend festivals together, and call each other ‘unofficial sibling.’\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg\" alt=\"\" class=\"wp-image-13994309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, wears a pair of leopard print overalls during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg\" alt=\"\" class=\"wp-image-13994308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Julia K., 23, wears a pair of leopard print ruffle shorts during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg\" alt=\"\" class=\"wp-image-13994310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jake A., 30, wears an open-shoulder top, shorts and silver sunglasses during day one of Portola on Saturday, Sept. 26, 2026. The outfit was put together at the last-minute from pieces Jake found at their family home after moving out of the Bay Area to Wisconsin. They returned to the Bay for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg\" alt=\"\" class=\"wp-image-13994304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, wears a “Cape Cod summer”-inspired outfit during day one of Portola on Saturday, Sept. 26, 2026. Liang, who was born and raised in the Bay, moved to Boston for school and made a trip back home to attend the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg\" alt=\"\" class=\"wp-image-13994305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, holds a handmade necklace he made in honor of his favorite type of butter during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg\" alt=\"\" class=\"wp-image-13994300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tara Paul, 40, holds a handmade ‘FERAL’ license plate sign during day one of Portola on Saturday, Sept. 26, 2026. Paul, who attended the festival with her fiancé, traveled from Sausalito to attend the festival and was most excited to see Robyn.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg\" alt=\"\" class=\"wp-image-13994327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray spent an hour styling her hair for the occasion.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg\" alt=\"\" class=\"wp-image-13994315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa I, 36, wears a shawl she bought at Sunset Campout , another festival, during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg\" alt=\"\" class=\"wp-image-13994324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Isabella Hernandez, 29, wears cat ears and a leather harness during day two of Portola on Sunday, Sept. 27, 2026. Hernandez traveled from Sacramento for the festival, and has attended nearly every year since it started in 2022.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg\" alt=\"\" class=\"wp-image-13994301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">From left, Michelle Padilla, Amina Allii and Janet Diaz pose for a portrait during day one of Portola on Saturday, Sept. 26, 2026. The three became fast friends when they met at Outside Lands, and sent each other various TikToks to coordinate outfits for Portola.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg\" alt=\"\" class=\"wp-image-13994302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Oakland resident Amina Allii wears a butterfly chain and leather pants during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg\" alt=\"\" class=\"wp-image-13994306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Axl Jones, left, and partner Chris Weachock make their way through the festival grounds during day one of Portola on Saturday, Sept. 26, 2026. The pair moved to the Bay Area from Texas eight years ago.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg\" alt=\"\" class=\"wp-image-13994321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Stella Oh, 31, at center, dances as Adéla performs during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg\" alt=\"\" class=\"wp-image-13994322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Matthew Lindberg, 32, of Oakland wears disco ball earrings and a pink cowboy hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg\" alt=\"\" class=\"wp-image-13994318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Nicole Bendana, 29, sports several colorful bracelets as she watches DJ Shadow perform during Portola day 1 on Saturday, Sept. 26, 2026. Bendana was one of several people wearing PLUR bracelets, which stand for Peace, Love, Unity, and Respect and are often exchanged among festivalgoers at EDM festivals.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg\" alt=\"\" class=\"wp-image-13994314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Derek Song wears several layers of necklaces during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg\" alt=\"\" class=\"wp-image-13994320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rebecca Seliga watches Adéla perform as she sits on top of Kelly Logachohe’s shoulders during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg\" alt=\"\" class=\"wp-image-13994313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, 26, wears a black sweatshirt with fur trim during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg\" alt=\"\" class=\"wp-image-13994307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, and Julia K., 23, wear matching leopard print outfits during day one of Portola on Saturday, Sept. 26, 2026. The pair have been friends since their middle school days, and traveled from Reno to attend the festival together.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg\" alt=\"\" class=\"wp-image-13994333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mariah Kilgore, 23, and Gloriel Ott, 35, watch Zara Larsson perform from the front row of the Pier Stage during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n",
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"\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n",
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"\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\"/>\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-1023x1536.jpg 1023w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\"/>\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg\" alt=\"\" class=\"wp-image-13994308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Julia K., 23, wears a pair of leopard print ruffle shorts during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg\" alt=\"\" class=\"wp-image-13994318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Nicole Bendana, 29, sports several colorful bracelets as she watches DJ Shadow perform during Portola day 1 on Saturday, Sept. 26, 2026. Bendana was one of several people wearing PLUR bracelets, which stand for Peace, Love, Unity, and Respect and are often exchanged among festivalgoers at EDM festivals.\u003c/figcaption>\u003c/figure>\n",
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"excerpt": "Attendees of the electronic music festival brought ‘ate’ to an entirely new level.",
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"title": "Photos: The Best Fan Fashion and Hot Looks at Portola Festival 2026 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n\n\n\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg\" alt=\"\" class=\"wp-image-13994326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray loves rave culture and has attended several festivals over the years.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg\" alt=\"\" class=\"wp-image-13994330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Allison Joy, 32, wears a Powerpuff Girls-inspired outfit during day two of Portola on Sunday, Sept. 27, 2026. The piece takes inspiration from the characters Buttercup, HIM, and Bubbles.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg\" alt=\"\" class=\"wp-image-13994332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jessica Carrasco, 26, wears a raccoon hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg\" alt=\"\" class=\"wp-image-13994317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg\" alt=\"\" class=\"wp-image-13994312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, at left, and bestie Derek Song pose for a portrait together during day one of Portola on Saturday, Sept. 26, 2026. The pair regularly attend festivals together, and call each other ‘unofficial sibling.’\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg\" alt=\"\" class=\"wp-image-13994309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, wears a pair of leopard print overalls during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg\" alt=\"\" class=\"wp-image-13994308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Julia K., 23, wears a pair of leopard print ruffle shorts during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg\" alt=\"\" class=\"wp-image-13994310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jake A., 30, wears an open-shoulder top, shorts and silver sunglasses during day one of Portola on Saturday, Sept. 26, 2026. The outfit was put together at the last-minute from pieces Jake found at their family home after moving out of the Bay Area to Wisconsin. They returned to the Bay for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg\" alt=\"\" class=\"wp-image-13994304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, wears a “Cape Cod summer”-inspired outfit during day one of Portola on Saturday, Sept. 26, 2026. Liang, who was born and raised in the Bay, moved to Boston for school and made a trip back home to attend the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg\" alt=\"\" class=\"wp-image-13994305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, holds a handmade necklace he made in honor of his favorite type of butter during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg\" alt=\"\" class=\"wp-image-13994300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tara Paul, 40, holds a handmade ‘FERAL’ license plate sign during day one of Portola on Saturday, Sept. 26, 2026. Paul, who attended the festival with her fiancé, traveled from Sausalito to attend the festival and was most excited to see Robyn.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg\" alt=\"\" class=\"wp-image-13994327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray spent an hour styling her hair for the occasion.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg\" alt=\"\" class=\"wp-image-13994315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa I, 36, wears a shawl she bought at Sunset Campout , another festival, during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg\" alt=\"\" class=\"wp-image-13994324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Isabella Hernandez, 29, wears cat ears and a leather harness during day two of Portola on Sunday, Sept. 27, 2026. Hernandez traveled from Sacramento for the festival, and has attended nearly every year since it started in 2022.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg\" alt=\"\" class=\"wp-image-13994301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">From left, Michelle Padilla, Amina Allii and Janet Diaz pose for a portrait during day one of Portola on Saturday, Sept. 26, 2026. The three became fast friends when they met at Outside Lands, and sent each other various TikToks to coordinate outfits for Portola.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg\" alt=\"\" class=\"wp-image-13994302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Oakland resident Amina Allii wears a butterfly chain and leather pants during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg\" alt=\"\" class=\"wp-image-13994306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Axl Jones, left, and partner Chris Weachock make their way through the festival grounds during day one of Portola on Saturday, Sept. 26, 2026. The pair moved to the Bay Area from Texas eight years ago.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg\" alt=\"\" class=\"wp-image-13994321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Stella Oh, 31, at center, dances as Adéla performs during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg\" alt=\"\" class=\"wp-image-13994322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Matthew Lindberg, 32, of Oakland wears disco ball earrings and a pink cowboy hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg\" alt=\"\" class=\"wp-image-13994318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Nicole Bendana, 29, sports several colorful bracelets as she watches DJ Shadow perform during Portola day 1 on Saturday, Sept. 26, 2026. Bendana was one of several people wearing PLUR bracelets, which stand for Peace, Love, Unity, and Respect and are often exchanged among festivalgoers at EDM festivals.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg\" alt=\"\" class=\"wp-image-13994314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Derek Song wears several layers of necklaces during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg\" alt=\"\" class=\"wp-image-13994320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rebecca Seliga watches Adéla perform as she sits on top of Kelly Logachohe’s shoulders during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg\" alt=\"\" class=\"wp-image-13994313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, 26, wears a black sweatshirt with fur trim during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg\" alt=\"\" class=\"wp-image-13994307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, and Julia K., 23, wear matching leopard print outfits during day one of Portola on Saturday, Sept. 26, 2026. The pair have been friends since their middle school days, and traveled from Reno to attend the festival together.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg\" alt=\"\" class=\"wp-image-13994333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mariah Kilgore, 23, and Gloriel Ott, 35, watch Zara Larsson perform from the front row of the Pier Stage during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"slug": "portola-review-sunday-zara-larsson-adela-kelela",
"title": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday",
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"headTitle": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday | KQED",
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"content": "\n\u003cp>For five years, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> has merged the Bay Area’s electronic music scene with sounds from all over the world. On Sunday, from Adéla’s Central European indie sleaze and Zara Larsson’s Barbie world of sparkly bright colors to Kelela’s world of sexy, electronic R&B, it all came together in one place. \u003c/p>\n\n\n\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg\" alt=\"\" class=\"wp-image-13994278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Adéla performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n\n\n\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/p/Dd0QWRGKUZw/\n\u003c/div>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Zara Larsson dominated the main stage \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The fog may have covered the San Francisco sky, but Zara Larsson brought her \u003ca href=\"https://www.youtube.com/watch?v=uvY8fdgezLQ\">neverending midnight sun\u003c/a>. Zara and her dancers coordinated in bright pastel colors while the background conjured her own Barbie dreamland, full of fast cars, short skirts and high heels. \u003c/p>\n\n\n\n\u003cp>During “Hot and Sexy,” Larsson incorporated the Teriyaki Boyz’ “Tokyo Drift” while she sang “PUSSPUSS97 on the number plate.” On its surface, “Hot & Sexy” celebrates women for being beautiful and desirable, but as Zara closed the song, she also expressed the realities of women who walk through the world feeling preyed upon. She posed the question: “Can I just be a girl?” \u003c/p>\n\n\n\n\n\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n\n\n\n\u003cp>Her Swedish background is always in the forefront as well. “Puss Puss,” the closing song on her \u003cem>Midnight Sun \u003c/em>album, is Swedish for “kiss kiss,” but at Portola, she had a goodnight-kiss surprise to end the set: \u003ca href=\"https://www.instagram.com/p/Dd0QWRGKUZw/?hl=en\">she brought out Robyn\u003c/a>, the iconic Swedish pop star who performed on the same stage Saturday, for a duet of “Talk to Me, Zara.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg\" alt=\"\" class=\"wp-image-13994273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Kelela performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Under a full moon, Kelela did it all\u003c/h2>\n\n\n\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n\n\n\n\u003cp>“There’s a lot of compartmentalizing of music, but tonight we’re doing all that shit,” she said, bridging the gaps between R&B music and electronic music. \u003c/p>\n\n\n\n\u003cp>The full moon illuminated the sky, the disco balls continued to spin and the light flashed behind her as she covered Sade’s “No Ordinary Love,” captivating the audience with her airy voice. But the mood didn’t last long. “Y’all ready to rave?” she asked a cheering crowd, and played “linknb,” making the entire crowd move their feet. \u003c/p>\n\n\n\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg\" alt=\"\" class=\"wp-image-13994274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg\" alt=\"\" class=\"wp-image-13994272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">JT performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg\" alt=\"\" class=\"wp-image-13994277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Swedish House Mafia closes out the Pier Stage during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg\" alt=\"\" class=\"wp-image-13994297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Clearcast poses for a portrait back stage during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg\" alt=\"\" class=\"wp-image-13994271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Horsegiirl performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg\" alt=\"\" class=\"wp-image-13994282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd while JT performs during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg\" alt=\"\" class=\"wp-image-13994270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Four Tet performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg\" alt=\"\" class=\"wp-image-13994275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">SG Lewis performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg\" alt=\"\" class=\"wp-image-13994283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people gather to watch Zara Larsson perform during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n",
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"\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n",
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"\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n",
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"\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n"
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border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\">\u003c/div>\u003c/div>\u003c/a>\u003c/div>\u003c/blockquote>\u003cscript async src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>"
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"innerHTML": "\n\u003cp>The fog may have covered the San Francisco sky, but Zara Larsson brought her \u003ca href=\"https://www.youtube.com/watch?v=uvY8fdgezLQ\">neverending midnight sun\u003c/a>. Zara and her dancers coordinated in bright pastel colors while the background conjured her own Barbie dreamland, full of fast cars, short skirts and high heels. \u003c/p>\n",
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"innerHTML": "\n\u003cp>During “Hot and Sexy,” Larsson incorporated the Teriyaki Boyz’ “Tokyo Drift” while she sang “PUSSPUSS97 on the number plate.” On its surface, “Hot & Sexy” celebrates women for being beautiful and desirable, but as Zara closed the song, she also expressed the realities of women who walk through the world feeling preyed upon. She posed the question: “Can I just be a girl?” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n",
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"\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Her Swedish background is always in the forefront as well. “Puss Puss,” the closing song on her \u003cem>Midnight Sun \u003c/em>album, is Swedish for “kiss kiss,” but at Portola, she had a goodnight-kiss surprise to end the set: \u003ca href=\"https://www.instagram.com/p/Dd0QWRGKUZw/?hl=en\">she brought out Robyn\u003c/a>, the iconic Swedish pop star who performed on the same stage Saturday, for a duet of “Talk to Me, Zara.” \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg\" alt=\"\" class=\"wp-image-13994273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-1536x1023.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Kelela performs during day two of Portola on Sunday Sept. 27, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"text": "Under a full moon, Kelela did it all",
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"innerHTML": "\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n",
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"\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“There’s a lot of compartmentalizing of music, but tonight we’re doing all that shit,” she said, bridging the gaps between R&B music and electronic music. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The full moon illuminated the sky, the disco balls continued to spin and the light flashed behind her as she covered Sade’s “No Ordinary Love,” captivating the audience with her airy voice. But the mood didn’t last long. “Y’all ready to rave?” she asked a cheering crowd, and played “linknb,” making the entire crowd move their feet. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n",
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"excerpt": "Pop princesses mixed with indie sleaze acts and hot electronic R&B on Portola‘s second day. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For five years, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> has merged the Bay Area’s electronic music scene with sounds from all over the world. On Sunday, from Adéla’s Central European indie sleaze and Zara Larsson’s Barbie world of sparkly bright colors to Kelela’s world of sexy, electronic R&B, it all came together in one place. \u003c/p>\n\n\n\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg\" alt=\"\" class=\"wp-image-13994278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Adéla performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n\n\n\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Zara Larsson dominated the main stage \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The fog may have covered the San Francisco sky, but Zara Larsson brought her \u003ca href=\"https://www.youtube.com/watch?v=uvY8fdgezLQ\">neverending midnight sun\u003c/a>. Zara and her dancers coordinated in bright pastel colors while the background conjured her own Barbie dreamland, full of fast cars, short skirts and high heels. \u003c/p>\n\n\n\n\u003cp>During “Hot and Sexy,” Larsson incorporated the Teriyaki Boyz’ “Tokyo Drift” while she sang “PUSSPUSS97 on the number plate.” On its surface, “Hot & Sexy” celebrates women for being beautiful and desirable, but as Zara closed the song, she also expressed the realities of women who walk through the world feeling preyed upon. She posed the question: “Can I just be a girl?” \u003c/p>\n\n\n\n\n\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n\n\n\n\u003cp>Her Swedish background is always in the forefront as well. “Puss Puss,” the closing song on her \u003cem>Midnight Sun \u003c/em>album, is Swedish for “kiss kiss,” but at Portola, she had a goodnight-kiss surprise to end the set: \u003ca href=\"https://www.instagram.com/p/Dd0QWRGKUZw/?hl=en\">she brought out Robyn\u003c/a>, the iconic Swedish pop star who performed on the same stage Saturday, for a duet of “Talk to Me, Zara.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg\" alt=\"\" class=\"wp-image-13994273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Kelela performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Under a full moon, Kelela did it all\u003c/h2>\n\n\n\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n\n\n\n\u003cp>“There’s a lot of compartmentalizing of music, but tonight we’re doing all that shit,” she said, bridging the gaps between R&B music and electronic music. \u003c/p>\n\n\n\n\u003cp>The full moon illuminated the sky, the disco balls continued to spin and the light flashed behind her as she covered Sade’s “No Ordinary Love,” captivating the audience with her airy voice. But the mood didn’t last long. “Y’all ready to rave?” she asked a cheering crowd, and played “linknb,” making the entire crowd move their feet. \u003c/p>\n\n\n\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg\" alt=\"\" class=\"wp-image-13994274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg\" alt=\"\" class=\"wp-image-13994272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">JT performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg\" alt=\"\" class=\"wp-image-13994277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Swedish House Mafia closes out the Pier Stage during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg\" alt=\"\" class=\"wp-image-13994297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Clearcast poses for a portrait back stage during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg\" alt=\"\" class=\"wp-image-13994271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Horsegiirl performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg\" alt=\"\" class=\"wp-image-13994282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd while JT performs during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg\" alt=\"\" class=\"wp-image-13994270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Four Tet performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg\" alt=\"\" class=\"wp-image-13994275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">SG Lewis performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg\" alt=\"\" class=\"wp-image-13994283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people gather to watch Zara Larsson perform during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"slug": "portola-festival-review-robyn-tove-lo-six-sex",
"title": "Robyn Proved Saturday at Portola Was for the Girls",
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"headTitle": "Robyn Proved Saturday at Portola Was for the Girls | KQED",
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"content": "\n\u003cp>When it comes to expressing yearning in all its emotional hues, few artists have it as dialed in as Robyn.\u003c/p>\n\n\n\n\u003cp>“I used to be embarrassed that I could only write sad love songs. Like, get over it, get a life,” she told her massive crowd during her headlining set Saturday night at the \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in San Francisco. “But then I realized life is embarrassing, and I leaned into it.”\u003c/p>\n\n\n\n\n\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n\n\n\n\u003cp>And the crowd ate it up. For the fifth year of this annual electronic music festival, amid the hard techno and grimy dubstep, there was clearly a contingent who wanted to connect to storytelling and lyrics.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n\n\n\n\u003cp>At the end of the set, Robyn gave the audience what they were clearly waiting for. When the disco beat of “Call Your Girlfriend” filled the air, people looked on rapturously, maybe even a little misty-eyed, and belted their hearts out. They kept swaying — and \u003ca href=\"https://www.instagram.com/p/DdxtadMKQcP/\">singing\u003c/a> — as she gave it her all for “Dancing On My Own.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n\n\n\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Tove Lo Invited Everyone to Dance Out Their Heartbreak \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Tove Lo gave fans a solid, hour-long set of heartbreak bangers, mostly from her brand-new album \u003cem>Estrus \u003c/em>but also drawn from her catalog of 2010s hits. She set a mercurial tone for the show with the song “a lot of feelings, no solutions,” emerging in an all-black look with puffy feathered sleeves that looked like angel wings. With “I’m the cake,” she served snarky attitude with a kiss-off to a long-term lover who’s taking her for granted. She pulled the melancholy notes out of “des fleurs x stromae,” her duet with the deep-voiced French hitmaker Stromae. \u003c/p>\n\n\n\n\u003cp>There were moments of levity, too, when she introduced “source of life” with a gleeful proclamation: “It’s about pussy!” When she belted “Habits (Stay High),” her ubiquitous 2014 hit about drunkenly stumbling her way through post-breakup grief, the audience’s eyes shimmered with nostalgia as they screamed the lyrics and got their life. \u003c/p>\n\n\n\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg\" alt=\"\" class=\"wp-image-13994258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Melanie C performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg\" alt=\"\" class=\"wp-image-13994248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Soulwax performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg\" alt=\"\" class=\"wp-image-13994255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Fcukers perform at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg\" alt=\"\" class=\"wp-image-13994252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">DJ Shadow performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg\" alt=\"\" class=\"wp-image-13994254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg\" alt=\"\" class=\"wp-image-13994250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg\" alt=\"\" class=\"wp-image-13994262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>When it comes to expressing yearning in all its emotional hues, few artists have it as dialed in as Robyn.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I used to be embarrassed that I could only write sad love songs. Like, get over it, get a life,” she told her massive crowd during her headlining set Saturday night at the \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in San Francisco. “But then I realized life is embarrassing, and I leaned into it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n",
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"\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n"
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"innerHTML": "\n\u003cp>And the crowd ate it up. For the fifth year of this annual electronic music festival, amid the hard techno and grimy dubstep, there was clearly a contingent who wanted to connect to storytelling and lyrics.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\"/>\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n",
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"\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the end of the set, Robyn gave the audience what they were clearly waiting for. When the disco beat of “Call Your Girlfriend” filled the air, people looked on rapturously, maybe even a little misty-eyed, and belted their hearts out. They kept swaying — and \u003ca href=\"https://www.instagram.com/p/DdxtadMKQcP/\">singing\u003c/a> — as she gave it her all for “Dancing On My Own.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\"/>\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n",
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"\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n",
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"\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\"/>\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Tove Lo gave fans a solid, hour-long set of heartbreak bangers, mostly from her brand-new album \u003cem>Estrus \u003c/em>but also drawn from her catalog of 2010s hits. She set a mercurial tone for the show with the song “a lot of feelings, no solutions,” emerging in an all-black look with puffy feathered sleeves that looked like angel wings. With “I’m the cake,” she served snarky attitude with a kiss-off to a long-term lover who’s taking her for granted. She pulled the melancholy notes out of “des fleurs x stromae,” her duet with the deep-voiced French hitmaker Stromae. \u003c/p>\n",
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"innerHTML": "\n\u003cp>There were moments of levity, too, when she introduced “source of life” with a gleeful proclamation: “It’s about pussy!” When she belted “Habits (Stay High),” her ubiquitous 2014 hit about drunkenly stumbling her way through post-breakup grief, the audience’s eyes shimmered with nostalgia as they screamed the lyrics and got their life. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n",
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"excerpt": "With strong sets by Tove Lo and Six Sex, the electronic music festival honed in on cult pop acts. ",
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"title": "Portola Festival Review: Robyn Proved Saturday Was for the Girls | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>When it comes to expressing yearning in all its emotional hues, few artists have it as dialed in as Robyn.\u003c/p>\n\n\n\n\u003cp>“I used to be embarrassed that I could only write sad love songs. Like, get over it, get a life,” she told her massive crowd during her headlining set Saturday night at the \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in San Francisco. “But then I realized life is embarrassing, and I leaned into it.”\u003c/p>\n\n\n\n\n\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n\n\n\n\u003cp>And the crowd ate it up. For the fifth year of this annual electronic music festival, amid the hard techno and grimy dubstep, there was clearly a contingent who wanted to connect to storytelling and lyrics.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n\n\n\n\u003cp>At the end of the set, Robyn gave the audience what they were clearly waiting for. When the disco beat of “Call Your Girlfriend” filled the air, people looked on rapturously, maybe even a little misty-eyed, and belted their hearts out. They kept swaying — and \u003ca href=\"https://www.instagram.com/p/DdxtadMKQcP/\">singing\u003c/a> — as she gave it her all for “Dancing On My Own.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n\n\n\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Tove Lo Invited Everyone to Dance Out Their Heartbreak \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Tove Lo gave fans a solid, hour-long set of heartbreak bangers, mostly from her brand-new album \u003cem>Estrus \u003c/em>but also drawn from her catalog of 2010s hits. She set a mercurial tone for the show with the song “a lot of feelings, no solutions,” emerging in an all-black look with puffy feathered sleeves that looked like angel wings. With “I’m the cake,” she served snarky attitude with a kiss-off to a long-term lover who’s taking her for granted. She pulled the melancholy notes out of “des fleurs x stromae,” her duet with the deep-voiced French hitmaker Stromae. \u003c/p>\n\n\n\n\u003cp>There were moments of levity, too, when she introduced “source of life” with a gleeful proclamation: “It’s about pussy!” When she belted “Habits (Stay High),” her ubiquitous 2014 hit about drunkenly stumbling her way through post-breakup grief, the audience’s eyes shimmered with nostalgia as they screamed the lyrics and got their life. \u003c/p>\n\n\n\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg\" alt=\"\" class=\"wp-image-13994258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Melanie C performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg\" alt=\"\" class=\"wp-image-13994248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Soulwax performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg\" alt=\"\" class=\"wp-image-13994255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Fcukers perform at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg\" alt=\"\" class=\"wp-image-13994252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">DJ Shadow performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg\" alt=\"\" class=\"wp-image-13994254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg\" alt=\"\" class=\"wp-image-13994250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg\" alt=\"\" class=\"wp-image-13994262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"slug": "north-by-northwest-review-act-san-francisco-insult-to-source-material-hitchcock",
"title": "At ACT, ‘North By Northwest’ Is an Insult to Hitchcock",
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"headTitle": "At ACT, ‘North By Northwest’ Is an Insult to Hitchcock | KQED",
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"content": "\n\u003cp>I cannot tell you how much I hated \u003cem>North By Northwest\u003c/em>, which opened this week at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>. It is an insult to the source material of Alfred Hitchcock’s 1959 film, and an insult to the audience’s intelligence. I ran from it as soon as I could, muttering obscenities to anyone within earshot.\u003c/p>\n\n\n\n\u003cp>This production’s first abomination is a shift in tone from a sophisticated, understated thriller to an over-the-top comedy, rife with insipid stereotypes and cheap gags. The second is the near-constant presence onstage of a narrator, who sucks the life out of any scene by overexplaining the action. The third is regular interruptions from songs by 1950s female pop vocalists like Peggy Lee and Betty Hutton, which turn into lip-synced dance numbers by whichever actor has the misfortune to be on stage.\u003c/p>\n\n\n\n\u003cp>The fourth is the production’s reliance on a surface-level 1950s nostalgia. The fifth is a finger-wagging for anyone who might problematically harbor any similar nostalgia. The sixth is the absurd plot coda and forced social commentary it tacks on at the end, in a sudden and jarring switch from slapstick to earnestness, with an entreaty to the audience that we “never again” return to the tactics of the Cold War, and have hope, or something.\u003c/p>\n\n\n\n\u003cp>You get the idea. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Bryony Pennington, Simon Oskarsson, Katy Owen, Danny Collins, Karl Queensborough and Patrycja Kujawska in ‘North by Northwest.’ (Rich Soublet II)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Adapted and directed by Emma Rice, the play is a complete misreading of Hitchcock’s original film, and its central theme of a mistaken identity that compounds upon itself. Roger Thornhill, who works in advertising, is misapprehended as a CIA operative and abducted by foreign agents. He soon finds that nobody trusts or believes him — not his captors, nor the police, the courts and even his own mother. In Hitchcock’s version, this is illustrated by a disturbing moment as an elevator of strangers breaks into laughter at Thornhill’s notion that someone could be out to murder him. Onstage at ACT, the scene is played as a joke, the punchline of which is Ella Fitzgerald singing “Get Happy” over the P.A. and everyone breaking into a hip-wagging go-go dance party.\u003c/p>\n\n\n\n\u003cp>What is this play trying to do? Why does it turn Cary Grant’s distinguished Thornhill into an uber-\u003ca href=\"https://x.com/JillFilipovic/status/2054240710795370892\">chalant\u003c/a> bro? Why does it expect we’ll think a man in women’s clothing is funny? Why do Thornhill (Danny Collins) and love interest Eve Kendall (Patrycja Kujawska), who in Ernest Lehman’s original screenplay bounce beautifully around each other, have such little chemistry onstage despite reciting the same lines? Why is the play obsessed with the phrase “global security,” mocking it repeatedly, as if staving off World War III was not a worthy goal? Why is a play set in 1959 using so many songs — Wayne Newton’s “Heart,” Nina Simone’s “Don’t Let Me Be Misunderstood,” a knockoff of Isaac Hayes’ “Shaft” — from the 1960s and ’70s? Why does it treat the plot like fluff but then have the narrator turn somber and wonder, out loud, “When will the killings stop?”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Simon Oskarsson, Danny Collins and Bryony Pennington in ‘North by Northwest.’ (Rich Soublet II)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>I have a guess for some of this, and that’s the successful nine-year run in London of \u003cem>The 39 Steps\u003c/em>, a stage play adapted from the Hitchcock film that’s closest, thematically, to \u003cem>North By Northwest\u003c/em>. Like this production, \u003cem>The 39 Steps\u003c/em> utilized a small cast playing many characters, and a sparse but modular set, with quick pacing. But \u003cem>The 39 Steps\u003c/em>, on stage, was well-crafted and trusted the audience. This \u003cem>North By Northwest\u003c/em> assumes the audience isn’t smart enough to follow the plot, so the narrator (Katy Owen) leads call-and-response sessions with us to remember who’s who.\u003c/p>\n\n\n\n\u003cp>It’s also just focused on the wrong thing. The core of \u003cem>North By Northwest\u003c/em> is one man’s need for identity and trust after he’s been stripped of it. At ACT, it’s spies, both onstage and off. A prompt in the lobby asks patrons for their favorite conspiracy. Walking tours associated with the production visit sites of “Cold War paranoia and espionage” near Union Square. Even Hitchcock himself, speaking with François Truffaut, called the inclusion of government secrets in the film “my best MacGuffin, and by that I mean the emptiest, the most nonexistent, and the most absurd.”\u003c/p>\n\n\n\n\u003cp>As for the play’s awkward new ending, and retconning the sexism of the 1950s: why pick on \u003cem>North By Northwest\u003c/em>? Why not undertake that with dim-witted pap like \u003cem>Kiss Me Stupid\u003c/em>, or \u003cem>Under the Yum-Yum Tree\u003c/em>? Or why not adapt a Hitchcock screenplay with more complex gender dynamics to explore, like \u003cem>Marnie\u003c/em>?\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Danny Collins as Roger Thornhill in ‘North by Northwest.’ (Rich Soublet II)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>I feel compelled here to note some of the good. The set — a rack of suits, four revolving doors and a parade of suitcases — gets repurposed in semi-interesting ways. The actors’ quick changes and choreography can be impressive. The famous cropduster and Mount Rushmore scenes have some inventive stage adaptation. Bryony Pennington (as Anna and others) is a standout, and an effervescent Owen makes the best with what she’s given.\u003c/p>\n\n\n\n\u003cp>But these are crowded out by the rest of it all, which is just plain disrespectful to one of history’s best films. If, five years from now, we see a zany \u003cem>Gong Show\u003c/em>-style staging of \u003cem>On the Waterfront\u003c/em> with disco interludes, I’ll know which play to blame.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘North By Northwest’ runs through Oct. 18 at the Toni Rembe Theater (415 Geary St.) in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/north-by-northwest\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I cannot tell you how much I hated \u003cem>North By Northwest\u003c/em>, which opened this week at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>. It is an insult to the source material of Alfred Hitchcock’s 1959 film, and an insult to the audience’s intelligence. I ran from it as soon as I could, muttering obscenities to anyone within earshot.\u003c/p>\n",
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"\n\u003cp>I cannot tell you how much I hated \u003cem>North By Northwest\u003c/em>, which opened this week at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>. It is an insult to the source material of Alfred Hitchcock’s 1959 film, and an insult to the audience’s intelligence. I ran from it as soon as I could, muttering obscenities to anyone within earshot.\u003c/p>\n"
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"innerHTML": "\n\u003cp>This production’s first abomination is a shift in tone from a sophisticated, understated thriller to an over-the-top comedy, rife with insipid stereotypes and cheap gags. The second is the near-constant presence onstage of a narrator, who sucks the life out of any scene by overexplaining the action. The third is regular interruptions from songs by 1950s female pop vocalists like Peggy Lee and Betty Hutton, which turn into lip-synced dance numbers by whichever actor has the misfortune to be on stage.\u003c/p>\n",
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"\n\u003cp>This production’s first abomination is a shift in tone from a sophisticated, understated thriller to an over-the-top comedy, rife with insipid stereotypes and cheap gags. The second is the near-constant presence onstage of a narrator, who sucks the life out of any scene by overexplaining the action. The third is regular interruptions from songs by 1950s female pop vocalists like Peggy Lee and Betty Hutton, which turn into lip-synced dance numbers by whichever actor has the misfortune to be on stage.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The fourth is the production’s reliance on a surface-level 1950s nostalgia. The fifth is a finger-wagging for anyone who might problematically harbor any similar nostalgia. The sixth is the absurd plot coda and forced social commentary it tacks on at the end, in a sudden and jarring switch from slapstick to earnestness, with an entreaty to the audience that we “never again” return to the tactics of the Cold War, and have hope, or something.\u003c/p>\n",
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"\n\u003cp>The fourth is the production’s reliance on a surface-level 1950s nostalgia. The fifth is a finger-wagging for anyone who might problematically harbor any similar nostalgia. The sixth is the absurd plot coda and forced social commentary it tacks on at the end, in a sudden and jarring switch from slapstick to earnestness, with an entreaty to the audience that we “never again” return to the tactics of the Cold War, and have hope, or something.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-1024x1536.jpg 1024w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Bryony Pennington, Simon Oskarsson, Katy Owen, Danny Collins, Karl Queensborough and Patrycja Kujawska in ‘North by Northwest.’\u003ccite class=\"wp-inline-image-credit\"> (Rich Soublet II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994167\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Bryony Pennington, Simon Oskarsson, Katy Owen, Danny Collins, Karl Queensborough and Patrycja Kujawska in ‘North by Northwest.’\u003ccite class=\"wp-inline-image-credit\"> (Rich Soublet II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Adapted and directed by Emma Rice, the play is a complete misreading of Hitchcock’s original film, and its central theme of a mistaken identity that compounds upon itself. Roger Thornhill, who works in advertising, is misapprehended as a CIA operative and abducted by foreign agents. He soon finds that nobody trusts or believes him — not his captors, nor the police, the courts and even his own mother. In Hitchcock’s version, this is illustrated by a disturbing moment as an elevator of strangers breaks into laughter at Thornhill’s notion that someone could be out to murder him. Onstage at ACT, the scene is played as a joke, the punchline of which is Ella Fitzgerald singing “Get Happy” over the P.A. and everyone breaking into a hip-wagging go-go dance party.\u003c/p>\n",
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"\n\u003cp>Adapted and directed by Emma Rice, the play is a complete misreading of Hitchcock’s original film, and its central theme of a mistaken identity that compounds upon itself. Roger Thornhill, who works in advertising, is misapprehended as a CIA operative and abducted by foreign agents. He soon finds that nobody trusts or believes him — not his captors, nor the police, the courts and even his own mother. In Hitchcock’s version, this is illustrated by a disturbing moment as an elevator of strangers breaks into laughter at Thornhill’s notion that someone could be out to murder him. Onstage at ACT, the scene is played as a joke, the punchline of which is Ella Fitzgerald singing “Get Happy” over the P.A. and everyone breaking into a hip-wagging go-go dance party.\u003c/p>\n"
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"innerHTML": "\n\u003cp>What is this play trying to do? Why does it turn Cary Grant’s distinguished Thornhill into an uber-\u003ca href=\"https://x.com/JillFilipovic/status/2054240710795370892\">chalant\u003c/a> bro? Why does it expect we’ll think a man in women’s clothing is funny? Why do Thornhill (Danny Collins) and love interest Eve Kendall (Patrycja Kujawska), who in Ernest Lehman’s original screenplay bounce beautifully around each other, have such little chemistry onstage despite reciting the same lines? Why is the play obsessed with the phrase “global security,” mocking it repeatedly, as if staving off World War III was not a worthy goal? Why is a play set in 1959 using so many songs — Wayne Newton’s “Heart,” Nina Simone’s “Don’t Let Me Be Misunderstood,” a knockoff of Isaac Hayes’ “Shaft” — from the 1960s and ’70s? Why does it treat the plot like fluff but then have the narrator turn somber and wonder, out loud, “When will the killings stop?”\u003c/p>\n",
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"\n\u003cp>What is this play trying to do? Why does it turn Cary Grant’s distinguished Thornhill into an uber-\u003ca href=\"https://x.com/JillFilipovic/status/2054240710795370892\">chalant\u003c/a> bro? Why does it expect we’ll think a man in women’s clothing is funny? Why do Thornhill (Danny Collins) and love interest Eve Kendall (Patrycja Kujawska), who in Ernest Lehman’s original screenplay bounce beautifully around each other, have such little chemistry onstage despite reciting the same lines? Why is the play obsessed with the phrase “global security,” mocking it repeatedly, as if staving off World War III was not a worthy goal? Why is a play set in 1959 using so many songs — Wayne Newton’s “Heart,” Nina Simone’s “Don’t Let Me Be Misunderstood,” a knockoff of Isaac Hayes’ “Shaft” — from the 1960s and ’70s? Why does it treat the plot like fluff but then have the narrator turn somber and wonder, out loud, “When will the killings stop?”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Simon Oskarsson, Danny Collins and Bryony Pennington in ‘North by Northwest.’\u003ccite class=\"wp-inline-image-credit\"> (Rich Soublet II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>I have a guess for some of this, and that’s the successful nine-year run in London of \u003cem>The 39 Steps\u003c/em>, a stage play adapted from the Hitchcock film that’s closest, thematically, to \u003cem>North By Northwest\u003c/em>. Like this production, \u003cem>The 39 Steps\u003c/em> utilized a small cast playing many characters, and a sparse but modular set, with quick pacing. But \u003cem>The 39 Steps\u003c/em>, on stage, was well-crafted and trusted the audience. This \u003cem>North By Northwest\u003c/em> assumes the audience isn’t smart enough to follow the plot, so the narrator (Katy Owen) leads call-and-response sessions with us to remember who’s who.\u003c/p>\n",
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"\n\u003cp>I have a guess for some of this, and that’s the successful nine-year run in London of \u003cem>The 39 Steps\u003c/em>, a stage play adapted from the Hitchcock film that’s closest, thematically, to \u003cem>North By Northwest\u003c/em>. Like this production, \u003cem>The 39 Steps\u003c/em> utilized a small cast playing many characters, and a sparse but modular set, with quick pacing. But \u003cem>The 39 Steps\u003c/em>, on stage, was well-crafted and trusted the audience. This \u003cem>North By Northwest\u003c/em> assumes the audience isn’t smart enough to follow the plot, so the narrator (Katy Owen) leads call-and-response sessions with us to remember who’s who.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s also just focused on the wrong thing. The core of \u003cem>North By Northwest\u003c/em> is one man’s need for identity and trust after he’s been stripped of it. At ACT, it’s spies, both onstage and off. A prompt in the lobby asks patrons for their favorite conspiracy. Walking tours associated with the production visit sites of “Cold War paranoia and espionage” near Union Square. Even Hitchcock himself, speaking with François Truffaut, called the inclusion of government secrets in the film “my best MacGuffin, and by that I mean the emptiest, the most nonexistent, and the most absurd.”\u003c/p>\n",
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"\n\u003cp>It’s also just focused on the wrong thing. The core of \u003cem>North By Northwest\u003c/em> is one man’s need for identity and trust after he’s been stripped of it. At ACT, it’s spies, both onstage and off. A prompt in the lobby asks patrons for their favorite conspiracy. Walking tours associated with the production visit sites of “Cold War paranoia and espionage” near Union Square. Even Hitchcock himself, speaking with François Truffaut, called the inclusion of government secrets in the film “my best MacGuffin, and by that I mean the emptiest, the most nonexistent, and the most absurd.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>As for the play’s awkward new ending, and retconning the sexism of the 1950s: why pick on \u003cem>North By Northwest\u003c/em>? Why not undertake that with dim-witted pap like \u003cem>Kiss Me Stupid\u003c/em>, or \u003cem>Under the Yum-Yum Tree\u003c/em>? Or why not adapt a Hitchcock screenplay with more complex gender dynamics to explore, like \u003cem>Marnie\u003c/em>?\u003c/p>\n",
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"\n\u003cp>As for the play’s awkward new ending, and retconning the sexism of the 1950s: why pick on \u003cem>North By Northwest\u003c/em>? Why not undertake that with dim-witted pap like \u003cem>Kiss Me Stupid\u003c/em>, or \u003cem>Under the Yum-Yum Tree\u003c/em>? Or why not adapt a Hitchcock screenplay with more complex gender dynamics to explore, like \u003cem>Marnie\u003c/em>?\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Danny Collins as Roger Thornhill in ‘North by Northwest.’\u003ccite class=\"wp-inline-image-credit\"> (Rich Soublet II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>I feel compelled here to note some of the good. The set — a rack of suits, four revolving doors and a parade of suitcases — gets repurposed in semi-interesting ways. The actors’ quick changes and choreography can be impressive. The famous cropduster and Mount Rushmore scenes have some inventive stage adaptation. Bryony Pennington (as Anna and others) is a standout, and an effervescent Owen makes the best with what she’s given.\u003c/p>\n",
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"innerHTML": "\n\u003cp>But these are crowded out by the rest of it all, which is just plain disrespectful to one of history’s best films. If, five years from now, we see a zany \u003cem>Gong Show\u003c/em>-style staging of \u003cem>On the Waterfront\u003c/em> with disco interludes, I’ll know which play to blame.\u003c/p>\n",
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"\n\u003cp>But these are crowded out by the rest of it all, which is just plain disrespectful to one of history’s best films. If, five years from now, we see a zany \u003cem>Gong Show\u003c/em>-style staging of \u003cem>On the Waterfront\u003c/em> with disco interludes, I’ll know which play to blame.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘North By Northwest’ runs through Oct. 18 at the Toni Rembe Theater (415 Geary St.) in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/north-by-northwest\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n",
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"excerpt": "With insipid stereotypes and cheap gags, the play makes a zany comedy out of the sophisticated film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I cannot tell you how much I hated \u003cem>North By Northwest\u003c/em>, which opened this week at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>. It is an insult to the source material of Alfred Hitchcock’s 1959 film, and an insult to the audience’s intelligence. I ran from it as soon as I could, muttering obscenities to anyone within earshot.\u003c/p>\n\n\n\n\u003cp>This production’s first abomination is a shift in tone from a sophisticated, understated thriller to an over-the-top comedy, rife with insipid stereotypes and cheap gags. The second is the near-constant presence onstage of a narrator, who sucks the life out of any scene by overexplaining the action. The third is regular interruptions from songs by 1950s female pop vocalists like Peggy Lee and Betty Hutton, which turn into lip-synced dance numbers by whichever actor has the misfortune to be on stage.\u003c/p>\n\n\n\n\u003cp>The fourth is the production’s reliance on a surface-level 1950s nostalgia. The fifth is a finger-wagging for anyone who might problematically harbor any similar nostalgia. The sixth is the absurd plot coda and forced social commentary it tacks on at the end, in a sudden and jarring switch from slapstick to earnestness, with an entreaty to the audience that we “never again” return to the tactics of the Cold War, and have hope, or something.\u003c/p>\n\n\n\n\u003cp>You get the idea. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot9RichSoubletII-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Bryony Pennington, Simon Oskarsson, Katy Owen, Danny Collins, Karl Queensborough and Patrycja Kujawska in ‘North by Northwest.’ (Rich Soublet II)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Adapted and directed by Emma Rice, the play is a complete misreading of Hitchcock’s original film, and its central theme of a mistaken identity that compounds upon itself. Roger Thornhill, who works in advertising, is misapprehended as a CIA operative and abducted by foreign agents. He soon finds that nobody trusts or believes him — not his captors, nor the police, the courts and even his own mother. In Hitchcock’s version, this is illustrated by a disturbing moment as an elevator of strangers breaks into laughter at Thornhill’s notion that someone could be out to murder him. Onstage at ACT, the scene is played as a joke, the punchline of which is Ella Fitzgerald singing “Get Happy” over the P.A. and everyone breaking into a hip-wagging go-go dance party.\u003c/p>\n\n\n\n\u003cp>What is this play trying to do? Why does it turn Cary Grant’s distinguished Thornhill into an uber-\u003ca href=\"https://x.com/JillFilipovic/status/2054240710795370892\">chalant\u003c/a> bro? Why does it expect we’ll think a man in women’s clothing is funny? Why do Thornhill (Danny Collins) and love interest Eve Kendall (Patrycja Kujawska), who in Ernest Lehman’s original screenplay bounce beautifully around each other, have such little chemistry onstage despite reciting the same lines? Why is the play obsessed with the phrase “global security,” mocking it repeatedly, as if staving off World War III was not a worthy goal? Why is a play set in 1959 using so many songs — Wayne Newton’s “Heart,” Nina Simone’s “Don’t Let Me Be Misunderstood,” a knockoff of Isaac Hayes’ “Shaft” — from the 1960s and ’70s? Why does it treat the plot like fluff but then have the narrator turn somber and wonder, out loud, “When will the killings stop?”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot8RichSoubletII-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Simon Oskarsson, Danny Collins and Bryony Pennington in ‘North by Northwest.’ (Rich Soublet II)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>I have a guess for some of this, and that’s the successful nine-year run in London of \u003cem>The 39 Steps\u003c/em>, a stage play adapted from the Hitchcock film that’s closest, thematically, to \u003cem>North By Northwest\u003c/em>. Like this production, \u003cem>The 39 Steps\u003c/em> utilized a small cast playing many characters, and a sparse but modular set, with quick pacing. But \u003cem>The 39 Steps\u003c/em>, on stage, was well-crafted and trusted the audience. This \u003cem>North By Northwest\u003c/em> assumes the audience isn’t smart enough to follow the plot, so the narrator (Katy Owen) leads call-and-response sessions with us to remember who’s who.\u003c/p>\n\n\n\n\u003cp>It’s also just focused on the wrong thing. The core of \u003cem>North By Northwest\u003c/em> is one man’s need for identity and trust after he’s been stripped of it. At ACT, it’s spies, both onstage and off. A prompt in the lobby asks patrons for their favorite conspiracy. Walking tours associated with the production visit sites of “Cold War paranoia and espionage” near Union Square. Even Hitchcock himself, speaking with François Truffaut, called the inclusion of government secrets in the film “my best MacGuffin, and by that I mean the emptiest, the most nonexistent, and the most absurd.”\u003c/p>\n\n\n\n\u003cp>As for the play’s awkward new ending, and retconning the sexism of the 1950s: why pick on \u003cem>North By Northwest\u003c/em>? Why not undertake that with dim-witted pap like \u003cem>Kiss Me Stupid\u003c/em>, or \u003cem>Under the Yum-Yum Tree\u003c/em>? Or why not adapt a Hitchcock screenplay with more complex gender dynamics to explore, like \u003cem>Marnie\u003c/em>?\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII.jpg\" alt=\"\" class=\"wp-image-13994169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ProductionShot11RichSoubletII-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Danny Collins as Roger Thornhill in ‘North by Northwest.’ (Rich Soublet II)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>I feel compelled here to note some of the good. The set — a rack of suits, four revolving doors and a parade of suitcases — gets repurposed in semi-interesting ways. The actors’ quick changes and choreography can be impressive. The famous cropduster and Mount Rushmore scenes have some inventive stage adaptation. Bryony Pennington (as Anna and others) is a standout, and an effervescent Owen makes the best with what she’s given.\u003c/p>\n\n\n\n\u003cp>But these are crowded out by the rest of it all, which is just plain disrespectful to one of history’s best films. If, five years from now, we see a zany \u003cem>Gong Show\u003c/em>-style staging of \u003cem>On the Waterfront\u003c/em> with disco interludes, I’ll know which play to blame.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘North By Northwest’ runs through Oct. 18 at the Toni Rembe Theater (415 Geary St.) in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/north-by-northwest\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-underscores-portola-charli-xcx",
"title": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour",
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"content": "\n\u003cp>If you grew up in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> and are attuned to recent developments in left-field pop music, you might’ve done a double take when looking at the cover of rising artist \u003ca href=\"https://underscores.bandcamp.com/album/u\">Underscores\u003c/a>’ third album, \u003cem>U. \u003c/em>\u003c/p>\n\n\n\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-rich is-provider-bandcamp wp-block-embed-bandcamp\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://underscores.bandcamp.com/album/u\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n\n\n\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n\n\n\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n\n\n\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n\n\n\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/UNYqwpx7Cys?si=yuJ68UyVU0VrjX6P\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n\n\n\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/p/DdMdTG7Ef1v/?stkn=NjZiM2M3MzIxNA==\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n\n\n\n\n\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n\n\n\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n\n\n\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n\n\n\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n",
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"innerHTML": "\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n",
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"innerHTML": "\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n",
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"innerHTML": "\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n",
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"innerHTML": "\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n",
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"innerHTML": "\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n",
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"innerHTML": "\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n",
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"innerHTML": "\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you grew up in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> and are attuned to recent developments in left-field pop music, you might’ve done a double take when looking at the cover of rising artist \u003ca href=\"https://underscores.bandcamp.com/album/u\">Underscores\u003c/a>’ third album, \u003cem>U. \u003c/em>\u003c/p>\n\n\n\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-rich is-provider-bandcamp wp-block-embed-bandcamp\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://underscores.bandcamp.com/album/u\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n\n\n\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n\n\n\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n\n\n\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n\n\n\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UNYqwpx7Cys'\n title='//www.youtube.com/embed/UNYqwpx7Cys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n\n\n\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n\n\n\n\n\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n\n\n\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n\n\n\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n\n\n\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>The American music industry has a long history of exploitation, but Negativland really got fleeced. With their long, expensive legal fight over fair use, the Contra Costa County collective changed the trajectory of art, culture and mass media in America. Now, the very principles Negativland defended have been commandeered by full-speed-ahead AI companies to invade, steal and poorly regurgitate the world’s body of knowledge and information.\u003c/p>\n\n\n\n\u003cp>Or, as they put it during their sold-out show Wednesday night at the San Francisco headquarters of the \u003ca href=\"https://www.kqed.org/arts/tag/internet-archive\">Internet Archive\u003c/a>, “The AI people are using the Negativland model to justify their business model. Fuck them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg\" alt=\"\" class=\"wp-image-13994041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Internet Archive founder Brewster Kahle introduces Negativland on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The Internet Archive and Negativland make a perfect pair. The Internet Archive is dedicated to preserving knowledge and culture, no matter how mundane or fleeting. Since 1979, Negativland has resurfaced and remixed the world’s culture into entirely new works of art. (In fact, while driving to the show, I stumbled upon an accidental opening act by tuning in to 89.9 KDFC, where a Schumann symphony clashed with broadcast static and snippets of news announcers’ voices — “glass bottles” … “West Marin” … “a Russian envoy” — from a competing radio station.)\u003c/p>\n\n\n\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n\n\n\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg\" alt=\"\" class=\"wp-image-13994037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd before Negativland’s performance at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>And then, with members Mark Hosler and Jon Leidecker at a long table covered in mixing boards, cables, wires, homemade electronic units and hand-scrawled notes, the show began. \u003c/p>\n\n\n\n\u003cp>\u003cem>“The point is this … we’re getting a little off-course.”\u003c/em>\u003c/p>\n\n\n\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n\n\n\n\u003cp>This being Negativland, plenty of subversive humor ran through the set. The audience laughed at the more absurd moments, like a man’s voice suggesting that we melt the North Pole, or another’s declaring that “pretty much everything David Lynch does is right-wing coded.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg\" alt=\"\" class=\"wp-image-13994042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland perform at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n\n\n\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n\n\n\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n\n\n\n\u003cp>Afterward, the band announced that they rarely if ever played songs from their albums live, but for an encore, the beat dropped to their 1987 track (and \u003ca href=\"https://en.wikipedia.org/wiki/Christianity_Is_Stupid\">media hoax material\u003c/a>) “\u003ca href=\"https://youtu.be/Vrt6o81ku5o?si=Zhn9STORm6TZR3sN\">Christianity is Stupid\u003c/a>.” The crowd audibly whooped. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg\" alt=\"\" class=\"wp-image-13994038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n\n\n\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n\n\n\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg\" alt=\"\" class=\"wp-image-13994040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The Internet Archive in San Francisco, pictured on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n",
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"innerHTML": "\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>This being Negativland, plenty of subversive humor ran through the set. The audience laughed at the more absurd moments, like a man’s voice suggesting that we melt the North Pole, or another’s declaring that “pretty much everything David Lynch does is right-wing coded.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg\" alt=\"\" class=\"wp-image-13994042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland perform at the Internet Archive in San Francisco on Sept. 16, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n",
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"\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n"
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"innerHTML": "\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n",
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"\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n",
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"\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Afterward, the band announced that they rarely if ever played songs from their albums live, but for an encore, the beat dropped to their 1987 track (and \u003ca href=\"https://en.wikipedia.org/wiki/Christianity_Is_Stupid\">media hoax material\u003c/a>) “\u003ca href=\"https://youtu.be/Vrt6o81ku5o?si=Zhn9STORm6TZR3sN\">Christianity is Stupid\u003c/a>.” The crowd audibly whooped. \u003c/p>\n",
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"\n\u003cp>Afterward, the band announced that they rarely if ever played songs from their albums live, but for an encore, the beat dropped to their 1987 track (and \u003ca href=\"https://en.wikipedia.org/wiki/Christianity_Is_Stupid\">media hoax material\u003c/a>) “\u003ca href=\"https://youtu.be/Vrt6o81ku5o?si=Zhn9STORm6TZR3sN\">Christianity is Stupid\u003c/a>.” The crowd audibly whooped. \u003c/p>\n"
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"innerHTML": "\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n",
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"\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n",
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"\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n",
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"\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n"
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"excerpt": "Two Bay Area institutions came together for a night of soundscapes, sampling and discussion about art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The American music industry has a long history of exploitation, but Negativland really got fleeced. With their long, expensive legal fight over fair use, the Contra Costa County collective changed the trajectory of art, culture and mass media in America. Now, the very principles Negativland defended have been commandeered by full-speed-ahead AI companies to invade, steal and poorly regurgitate the world’s body of knowledge and information.\u003c/p>\n\n\n\n\u003cp>Or, as they put it during their sold-out show Wednesday night at the San Francisco headquarters of the \u003ca href=\"https://www.kqed.org/arts/tag/internet-archive\">Internet Archive\u003c/a>, “The AI people are using the Negativland model to justify their business model. Fuck them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg\" alt=\"\" class=\"wp-image-13994041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Internet Archive founder Brewster Kahle introduces Negativland on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The Internet Archive and Negativland make a perfect pair. The Internet Archive is dedicated to preserving knowledge and culture, no matter how mundane or fleeting. Since 1979, Negativland has resurfaced and remixed the world’s culture into entirely new works of art. (In fact, while driving to the show, I stumbled upon an accidental opening act by tuning in to 89.9 KDFC, where a Schumann symphony clashed with broadcast static and snippets of news announcers’ voices — “glass bottles” … “West Marin” … “a Russian envoy” — from a competing radio station.)\u003c/p>\n\n\n\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n\n\n\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg\" alt=\"\" class=\"wp-image-13994037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd before Negativland’s performance at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>And then, with members Mark Hosler and Jon Leidecker at a long table covered in mixing boards, cables, wires, homemade electronic units and hand-scrawled notes, the show began. \u003c/p>\n\n\n\n\u003cp>\u003cem>“The point is this … we’re getting a little off-course.”\u003c/em>\u003c/p>\n\n\n\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n\n\n\n\u003cp>This being Negativland, plenty of subversive humor ran through the set. The audience laughed at the more absurd moments, like a man’s voice suggesting that we melt the North Pole, or another’s declaring that “pretty much everything David Lynch does is right-wing coded.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg\" alt=\"\" class=\"wp-image-13994042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland perform at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n\n\n\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n\n\n\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n\n\n\n\u003cp>Afterward, the band announced that they rarely if ever played songs from their albums live, but for an encore, the beat dropped to their 1987 track (and \u003ca href=\"https://en.wikipedia.org/wiki/Christianity_Is_Stupid\">media hoax material\u003c/a>) “\u003ca href=\"https://youtu.be/Vrt6o81ku5o?si=Zhn9STORm6TZR3sN\">Christianity is Stupid\u003c/a>.” The crowd audibly whooped. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg\" alt=\"\" class=\"wp-image-13994038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n\n\n\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n\n\n\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg\" alt=\"\" class=\"wp-image-13994040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The Internet Archive in San Francisco, pictured on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>The strike at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a>, which resulted in five canceled performances and delayed the opening of the 2026–27 season, is set to come to an end. \u003c/p>\n\n\n\n\u003cp>The San Francisco Opera Orchestra and San Francisco Opera jointly announced Thursday evening that a tentative agreement on a four-year contract has been reached. Pending ratification of the contract, performances will resume at the opera house when Verdi’s \u003cem>Simon Boccanegra\u003c/em> opens on Tuesday, Sept. 22.\u003c/p>\n\n\n\n\u003cp>“We cannot wait to return to the pit,” said Gabe Young, the orchestra’s associate principal oboist and chair of the musicians’ negotiating committee, in \u003ca href=\"https://www.sfopera.com/press/press-releases/SFO-AFM-tentative-agreement/\">a statement\u003c/a>. \u003c/p>\n\n\n\n\u003cp>“We are heartened to have reached a tentative deal that provides a fair contract and stability for the members of the orchestra,” Young said, adding that “we want to thank the public and Opera patrons for their patience and support through what has been a challenging process for our musicians.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg\" alt=\"\" class=\"wp-image-13994022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat in the title role, Aleksey Bogdanov as Paolo, Gabriel Natal-Baez as Pietro and members of the San Francisco Opera Chorus in Verdi’s ‘Simon Boccanegra.’ (Cory Weaver/San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The San Francisco Opera Orchestra, represented by American Federation of Musicians Local 6, had \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">been on strike since Sept. 12\u003c/a>, when the season opener of \u003cem>Simon Boccanegra\u003c/em> was canceled just a half hour before curtain. In the days since, a picket line and impromptu performances have taken place intermittently on the Opera House steps.\u003c/p>\n\n\n\n\u003cp>Musicians also performed casually in Golden Gate Park on Sunday, Sept. 13, while technicians dismantled the stage for Opera in the Park, which was also canceled. San Francisco Opera also previously postponed its annual gala, originally set for Sept. 12, to Nov. 12. \u003c/p>\n\n\n\n\n\n\u003cp>In a statement, SF Opera General Director Matthew Shilvock said that “I am deeply grateful that we have reached a tentative agreement on a new contract—one that addresses important structural changes while providing a fair agreement for our musicians.”\u003c/p>\n\n\n\n\u003cp>Both Young and Shilvock thanked Mayor Daniel Lurie, who along with Matthew Goudeau, the city’s executive director of arts and culture, got involved in negotiations shortly after the strike began. \u003c/p>\n\n\n\n\u003cp>In his statement, Lurie acknowledged the rising cost of living as a working musician in San Francisco, and praised the return of opera patrons to small businesses in the neighborhood.\u003c/p>\n\n\n\n\u003cp>Lurie also summed up the relief felt among both parties: “Finally, we are getting those performances started again.” \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Correction: A previous version of this story incorrectly reported that performances of ‘Simon Boccanegra’ will start on Thursday, Sept. 24. Performances will start on Tuesday, Sept. 22. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>The strike at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a>, which resulted in five canceled performances and delayed the opening of the 2026–27 season, is set to come to an end. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The San Francisco Opera Orchestra and San Francisco Opera jointly announced Thursday evening that a tentative agreement on a four-year contract has been reached. Pending ratification of the contract, performances will resume at the opera house when Verdi’s \u003cem>Simon Boccanegra\u003c/em> opens on Tuesday, Sept. 22.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We cannot wait to return to the pit,” said Gabe Young, the orchestra’s associate principal oboist and chair of the musicians’ negotiating committee, in \u003ca href=\"https://www.sfopera.com/press/press-releases/SFO-AFM-tentative-agreement/\">a statement\u003c/a>. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“We are heartened to have reached a tentative deal that provides a fair contract and stability for the members of the orchestra,” Young said, adding that “we want to thank the public and Opera patrons for their patience and support through what has been a challenging process for our musicians.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>In a statement, SF Opera General Director Matthew Shilvock said that “I am deeply grateful that we have reached a tentative agreement on a new contract—one that addresses important structural changes while providing a fair agreement for our musicians.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Both Young and Shilvock thanked Mayor Daniel Lurie, who along with Matthew Goudeau, the city’s executive director of arts and culture, got involved in negotiations shortly after the strike began. \u003c/p>\n",
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"innerHTML": "\n\u003cp>In his statement, Lurie acknowledged the rising cost of living as a working musician in San Francisco, and praised the return of opera patrons to small businesses in the neighborhood.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Correction: A previous version of this story incorrectly reported that performances of ‘Simon Boccanegra’ will start on Thursday, Sept. 24. Performances will start on Tuesday, Sept. 22. \u003c/em>\u003c/p>\n",
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"excerpt": "Performances are set to return to the Opera House on Tuesday, Sept. 22, with Verdi’s ‘Simon Boccanegra.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The strike at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a>, which resulted in five canceled performances and delayed the opening of the 2026–27 season, is set to come to an end. \u003c/p>\n\n\n\n\u003cp>The San Francisco Opera Orchestra and San Francisco Opera jointly announced Thursday evening that a tentative agreement on a four-year contract has been reached. Pending ratification of the contract, performances will resume at the opera house when Verdi’s \u003cem>Simon Boccanegra\u003c/em> opens on Tuesday, Sept. 22.\u003c/p>\n\n\n\n\u003cp>“We cannot wait to return to the pit,” said Gabe Young, the orchestra’s associate principal oboist and chair of the musicians’ negotiating committee, in \u003ca href=\"https://www.sfopera.com/press/press-releases/SFO-AFM-tentative-agreement/\">a statement\u003c/a>. \u003c/p>\n\n\n\n\u003cp>“We are heartened to have reached a tentative deal that provides a fair contract and stability for the members of the orchestra,” Young said, adding that “we want to thank the public and Opera patrons for their patience and support through what has been a challenging process for our musicians.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg\" alt=\"\" class=\"wp-image-13994022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat in the title role, Aleksey Bogdanov as Paolo, Gabriel Natal-Baez as Pietro and members of the San Francisco Opera Chorus in Verdi’s ‘Simon Boccanegra.’ (Cory Weaver/San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The San Francisco Opera Orchestra, represented by American Federation of Musicians Local 6, had \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">been on strike since Sept. 12\u003c/a>, when the season opener of \u003cem>Simon Boccanegra\u003c/em> was canceled just a half hour before curtain. In the days since, a picket line and impromptu performances have taken place intermittently on the Opera House steps.\u003c/p>\n\n\n\n\u003cp>Musicians also performed casually in Golden Gate Park on Sunday, Sept. 13, while technicians dismantled the stage for Opera in the Park, which was also canceled. San Francisco Opera also previously postponed its annual gala, originally set for Sept. 12, to Nov. 12. \u003c/p>\n\n\n\n\n\n\u003cp>In a statement, SF Opera General Director Matthew Shilvock said that “I am deeply grateful that we have reached a tentative agreement on a new contract—one that addresses important structural changes while providing a fair agreement for our musicians.”\u003c/p>\n\n\n\n\u003cp>Both Young and Shilvock thanked Mayor Daniel Lurie, who along with Matthew Goudeau, the city’s executive director of arts and culture, got involved in negotiations shortly after the strike began. \u003c/p>\n\n\n\n\u003cp>In his statement, Lurie acknowledged the rising cost of living as a working musician in San Francisco, and praised the return of opera patrons to small businesses in the neighborhood.\u003c/p>\n\n\n\n\u003cp>Lurie also summed up the relief felt among both parties: “Finally, we are getting those performances started again.” \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Correction: A previous version of this story incorrectly reported that performances of ‘Simon Boccanegra’ will start on Thursday, Sept. 24. Performances will start on Tuesday, Sept. 22. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>San Francisco Opera has announced the cancellation of all performances through Sept. 20 as contract negotiations between the company and the musicians union continue.\u003c/p>\n\n\n\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a statement, San Francisco Opera’s general director Matthew Shilvock expressed regret and thanked patrons for their patience. \u003c/p>\n\n\n\n\n\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n\n\n\n\u003cp>As \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">previously reported\u003c/a>, the Opera’s Sept. 12 opening night performance of \u003cem>Simon Boccanegra\u003c/em> was canceled just before curtain with an announcement from the stage at the War Memorial Opera House. The popular annual event Opera in the Park, to be held the following day, was also canceled. \u003c/p>\n\n\n\n\u003cp>Early this month, with no final contract agreement in place, San Francisco Opera rescheduled its annual gala from Sept. 12 at Nov. 12. Today’s cancellations indicate a similar preemptive safeguard. \u003c/p>\n\n\n\n\u003cp>Ticketholders for the cancelled performances may \u003ca href=\"http://sfopera.com/updates\">visit the SF Opera website\u003c/a> to request a refund, exchange their tickets for an upcoming performance in the 2026–27 season or classify their ticket purchase as a donation to the Opera. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n",
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"\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n",
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"innerHTML": "\n\u003cp>As \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">previously reported\u003c/a>, the Opera’s Sept. 12 opening night performance of \u003cem>Simon Boccanegra\u003c/em> was canceled just before curtain with an announcement from the stage at the War Memorial Opera House. The popular annual event Opera in the Park, to be held the following day, was also canceled. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Early this month, with no final contract agreement in place, San Francisco Opera rescheduled its annual gala from Sept. 12 at Nov. 12. Today’s cancellations indicate a similar preemptive safeguard. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Ticketholders for the cancelled performances may \u003ca href=\"http://sfopera.com/updates\">visit the SF Opera website\u003c/a> to request a refund, exchange their tickets for an upcoming performance in the 2026–27 season or classify their ticket purchase as a donation to the Opera. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco Opera has announced the cancellation of all performances through Sept. 20 as contract negotiations between the company and the musicians union continue.\u003c/p>\n\n\n\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a statement, San Francisco Opera’s general director Matthew Shilvock expressed regret and thanked patrons for their patience. \u003c/p>\n\n\n\n\n\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n\n\n\n\u003cp>As \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">previously reported\u003c/a>, the Opera’s Sept. 12 opening night performance of \u003cem>Simon Boccanegra\u003c/em> was canceled just before curtain with an announcement from the stage at the War Memorial Opera House. The popular annual event Opera in the Park, to be held the following day, was also canceled. \u003c/p>\n\n\n\n\u003cp>Early this month, with no final contract agreement in place, San Francisco Opera rescheduled its annual gala from Sept. 12 at Nov. 12. Today’s cancellations indicate a similar preemptive safeguard. \u003c/p>\n\n\n\n\u003cp>Ticketholders for the cancelled performances may \u003ca href=\"http://sfopera.com/updates\">visit the SF Opera website\u003c/a> to request a refund, exchange their tickets for an upcoming performance in the 2026–27 season or classify their ticket purchase as a donation to the Opera. \u003c/p>\n\u003c/div>\u003c/p>",
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"title": "A Beloved SF Grocery Store Brings ‘Tiny Desk’-Style Concerts to the Produce Aisle",
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"headTitle": "A Beloved SF Grocery Store Brings ‘Tiny Desk’-Style Concerts to the Produce Aisle | KQED",
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"content": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n\n\n\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/reel/DcyWTTMSGd9/\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>“Something about Rainbow that’s different from other grocers is that we’re part of the community,” de la Cruz-Falcon says. “We’re a co-op; we’re not owned by billionaires. We like to do things for the community.”\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n\n\n\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n\n\n\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg\" alt=\"A musician, seated in the produce section of a grocery store, plays the guitar.\" class=\"wp-image-13993723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Punk folk singer Ryan Modee performs with a pineapple on his guitar amp. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For the time being, the project will mostly consist of videos shared on Rainbow Grocery’s YouTube and Instagram accounts. For the first session, the four bands — plus sound engineer Dylan Edrich — arrived at the supermarket shortly after its 9 p.m. closing time. By the time each band finished playing and recording its three-song set, it was around 2 a.m.\u003c/p>\n\n\n\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n\n\n\n\n\n\u003cp>“I love pop art, and I thought, what could be more pop art than having our band play in a grocery store?” Smith explains. \u003c/p>\n\n\n\n\u003cp>For Smith, the whole experience felt like a dream. “It was surreal, like it was such an odd place to be wheeling my amp into,” he says. But everyone was so professional and kind — and the snacks, of course, were second to none. \u003c/p>\n\n\n\n\u003cp>“I ate a really good apple,” he recalls.\u003c/p>\n\n\n\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg\" alt=\"Two musicians in gray suits performing in the produce section of a grocery store. The man in sunglasses on the left dances energetically. \" class=\"wp-image-13993724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Edgar (left) dances during his gothic cumbia set. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Within a couple of days, more than 3,000 people liked the initial \u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">trailer for the series\u003c/a> that Rainbow Grocery posted; nearly 75,000 viewed the video. (“It’s probably some of the best exposure we’ve gotten,” Smith says.)\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon says one of the other exciting things about the project is that so many of the worker-owners at Rainbow Grocery are talented musicians, many of whom have their own bands. He hopes some of those bands will play at future Under the Rainbow recording sessions. \u003c/p>\n\n\n\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-1229x1536.jpg 1229w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Rainbow Grocery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Rainbow Grocery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n",
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"\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n",
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"\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n"
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"innerHTML": "\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n",
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"\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n"
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"innerHTML": "\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n",
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"\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For the time being, the project will mostly consist of videos shared on Rainbow Grocery’s YouTube and Instagram accounts. For the first session, the four bands — plus sound engineer Dylan Edrich — arrived at the supermarket shortly after its 9 p.m. closing time. By the time each band finished playing and recording its three-song set, it was around 2 a.m.\u003c/p>\n",
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"innerHTML": "\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n",
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"\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I love pop art, and I thought, what could be more pop art than having our band play in a grocery store?” Smith explains. \u003c/p>\n",
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"innerHTML": "\n\u003cp>For Smith, the whole experience felt like a dream. “It was surreal, like it was such an odd place to be wheeling my amp into,” he says. But everyone was so professional and kind — and the snacks, of course, were second to none. \u003c/p>\n",
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"innerHTML": "\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n",
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"\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg\" alt=\"Two musicians in gray suits performing in the produce section of a grocery store. The man in sunglasses on the left dances energetically. \" class=\"wp-image-13993724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-1023x1536.jpg 1023w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Edgar (left) dances during his gothic cumbia set.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Rainbow Grocery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Within a couple of days, more than 3,000 people liked the initial \u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">trailer for the series\u003c/a> that Rainbow Grocery posted; nearly 75,000 viewed the video. (“It’s probably some of the best exposure we’ve gotten,” Smith says.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>De la Cruz-Falcon says one of the other exciting things about the project is that so many of the worker-owners at Rainbow Grocery are talented musicians, many of whom have their own bands. He hopes some of those bands will play at future Under the Rainbow recording sessions. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n",
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"\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n\n\n\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>“Something about Rainbow that’s different from other grocers is that we’re part of the community,” de la Cruz-Falcon says. “We’re a co-op; we’re not owned by billionaires. We like to do things for the community.”\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n\n\n\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n\n\n\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg\" alt=\"A musician, seated in the produce section of a grocery store, plays the guitar.\" class=\"wp-image-13993723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Punk folk singer Ryan Modee performs with a pineapple on his guitar amp. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For the time being, the project will mostly consist of videos shared on Rainbow Grocery’s YouTube and Instagram accounts. For the first session, the four bands — plus sound engineer Dylan Edrich — arrived at the supermarket shortly after its 9 p.m. closing time. By the time each band finished playing and recording its three-song set, it was around 2 a.m.\u003c/p>\n\n\n\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n\n\n\n\n\n\u003cp>“I love pop art, and I thought, what could be more pop art than having our band play in a grocery store?” Smith explains. \u003c/p>\n\n\n\n\u003cp>For Smith, the whole experience felt like a dream. “It was surreal, like it was such an odd place to be wheeling my amp into,” he says. But everyone was so professional and kind — and the snacks, of course, were second to none. \u003c/p>\n\n\n\n\u003cp>“I ate a really good apple,” he recalls.\u003c/p>\n\n\n\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg\" alt=\"Two musicians in gray suits performing in the produce section of a grocery store. The man in sunglasses on the left dances energetically. \" class=\"wp-image-13993724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Edgar (left) dances during his gothic cumbia set. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Within a couple of days, more than 3,000 people liked the initial \u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">trailer for the series\u003c/a> that Rainbow Grocery posted; nearly 75,000 viewed the video. (“It’s probably some of the best exposure we’ve gotten,” Smith says.)\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon says one of the other exciting things about the project is that so many of the worker-owners at Rainbow Grocery are talented musicians, many of whom have their own bands. He hopes some of those bands will play at future Under the Rainbow recording sessions. \u003c/p>\n\n\n\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "young-bari-bosslife-big-spence-thats-a-playa",
"title": "How Young Bari and BossLife Big Spence’s ‘That's a Playa’ Took Over the Bay",
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"headTitle": "How Young Bari and BossLife Big Spence’s ‘That’s a Playa’ Took Over the Bay | KQED",
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"content": "\n\u003cp>Our current era is full of songs that become hits after going viral on TikTok. Meanwhile, since August of 2025, Oakland’s \u003ca href=\"https://www.instagram.com/bosslifebigspence/\">BossLife Big Spence\u003c/a> and San Francisco’s \u003ca href=\"https://www.instagram.com/y0ungbari/?hl=en\">Young Bari\u003c/a> have worked their hit song “\u003ca href=\"https://www.youtube.com/watch?v=tOg-IMiT-oU\">That’s a Playa\u003c/a>” like it’s the old days.\u003c/p>\n\n\n\n\u003cp>They’ve done local radio hits and traveled for features on \u003ca href=\"https://www.youtube.com/watch?v=xpHRNcxgBQM\">national video platforms\u003c/a>. They’ve made made guest appearances at major events, like E-40’s recent set at the Oakland Arena and a Levi’s Super Bowl event in February. They even tapped rap legends \u003ca href=\"https://www.youtube.com/watch?v=iRtSJHRx1YE\">Richie Rich, Too Short and E-40\u003c/a> for a remix, extending the song’s longevity.\u003c/p>\n\n\n\n\u003cp>Now, on Sept. 7, Spence and Bari are set to headline the second stage at the 14th annual \u003ca href=\"https://www.kqed.org/arts/13991284/hiero-day-2026-san-francisco-lineup-expansion-la-canada\">Hiero Day\u003c/a>, closing out a show with a lineup of talent that includes Mereba, DJ Jazzy Jeff and Killer Mike.\u003c/p>\n\n\n\n\u003cp>While many artists typically drop songs and then pray the algorithm helps them catch a wave, Spence and Bari say taking a single track and going on a “campaign” with it is the reason for its success. They even got a special shout out from one of the most popular comedians of the past two decades, Mike Epps.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/reel/DXHe0AzgaVO/?utm_source=ig_web_copy_link&igsi=MzRlODBiNWFlZA==\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It all started with a video of Epps responding to a question about which artists he’s listening to right now. Between mentions of Kendrick Lamar and Fetty P. Franklin,”It’s a young dude out of the Bay right now named Young Bari,” \u003ca href=\"https://www.tmz.com/watch/mike-epps-odell-beckham-jr-kendrick-lamar-12-04-2025/\">Epps says\u003c/a>.\u003c/p>\n\n\n\n\u003cp>“When I seen that,” Bari tells me, “I was like, ‘I gotta make a clip of this instantly and post it, so people can know we \u003cem>moving\u003c/em> right now!'”\u003c/p>\n\n\n\n\u003cp>Weeks later, when Epps was scheduled to come to the Bay for a show at Tommy T’s Comedy Club in Concord with an afterparty at Oakland’s M2 lounge, he told Spence, “Bro, we finna go pull up on Mike.” \u003c/p>\n\n\n\n\u003cp>Not only did they meet the award-winning actor and former host of HBO’s \u003cem>Def Comedy Jam\u003c/em>, they performed that same night. \u003c/p>\n\n\n\n\u003cp>“I’m talking about a real campaign, bro,” Bari says, explaining their grind over the past year. “We was running it up,” he exclaims. “Whatever we had to do to get the record out, we did it.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=tOg-IMiT-oU\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Spence, who made the original version of the song while working with producer \u003ca href=\"https://www.instagram.com/payseanprod/\">PAY$EAN\u003c/a>, points out an important aspect of their promotion: it’s all been out of their own pockets. “We really put our all into the record,” says Spence, “and I think the results you see are the results of that.”\u003c/p>\n\n\n\n\u003cp>Though they’re both Bay Area-raised students of hip-hop, the two artists come from different eras.\u003c/p>\n\n\n\n\u003cp>Spence, who started as a producer before stepping to the mic, has made his mark with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=brbOTU5TiKY\">The Deal\u003c/a>”by DaBoii (feat. Drakeo the Ruler) and “\u003ca href=\"https://www.youtube.com/watch?v=DuHpLZRRYIk\">Pimpin’ Like Kenny Red\u003c/a>” by Too Short (feat. Larry June). “I had a little success with my first single that I ever dropped, ‘\u003ca href=\"https://www.youtube.com/watch?v=z5i4Sa2a7k4\">10K,\u003c/a>’” he says. “But the success of ‘That’s a Playa’ is totally different.”\u003c/p>\n\n\n\n\u003cp>That kind of success is a new experience for Spence. But Bari has been here before.\u003c/p>\n\n\n\n\n\n\u003cp>As a 10th grader at Berkeley High School, Spence saw Bari perform his classic track, “\u003ca href=\"https://www.youtube.com/watch?v=8JjvzlpNiH0&list=RD8JjvzlpNiH0&start_radio=1\">So Mobby\u003c/a>.” At the time, Spence hadn’t been to many concerts, and “definitely no rap concerts,” he says. “So when [Bari] did that, I was just so impacted. I was like, ‘Man, one day I got to have it.'”\u003c/p>\n\n\n\n\u003cp>A recently shared \u003ca href=\"https://www.instagram.com/p/DcSB_hCt_d2/\">video of Bari performing in 2009 \u003c/a>shows just how lit audiences would get when “So Mobby” would come kabobulating through the speakers. Referenced in the 2012 \u003ca href=\"https://www.youtube.com/watch?v=g-iC-irllqY&list=RDg-iC-irllqY&start_radio=1\">E-40 track “Function”\u003c/a> (feat. YG, Problem and IamSu!), the song still holds its weight in the Bay Area hall of game. And Bari’s stage show is partially to credit for it.\u003c/p>\n\n\n\n\u003cp>“I grew up in the turf dancing era,” he says. “If you was in the party being a wallflower, you getting cooked, you feel me?” \u003c/p>\n\n\n\n\u003cp>Bari, who recently released the P-Lo-produced song “\u003ca href=\"https://www.youtube.com/watch?v=lkejTZUV1-U\">IN TRAFFIC\u003c/a>” (feat. Keak Da Sneak and DB Tha General) as well as “\u003ca href=\"https://www.youtube.com/watch?v=BPE-8ide9Ig\">MOBBY MIYAZAKI\u003c/a>” (a re-interpolation of “So Mobby” with Seiji Oda), possesses dance moves that entertain his peers and simultaneously pay homage to his Frisco roots.\u003c/p>\n\n\n\n\u003cp>“The Get Low,” he says, “that’s a neighborhood dance. My uncle \u003ca href=\"https://www.instagram.com/reels/DVMSAkfEn99/\">J.D. Walker made that dance\u003c/a>.” The key to hitting The Get Low, says Bari, is energy. “It’s a feeling.” \u003c/p>\n\n\n\n\u003cp>And it’s that same energy that led him to working with Big Spence.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-scaled.jpg\" alt=\"Three men in a recording studio, posing for a photo.\" class=\"wp-image-13993588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Rapper Young Bari, producer Pay$ean and rapper-producer BossLife Big Spence pose for a photo at the On The Radar studio in New York. (Courtesy of BossLife Big Spence)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>While visiting the producer and going through beats, Spence played an unfinished version of “That’s a Playa.” Bari instantly felt it. “I seen the vision,” he says. “I heard the energy of it and I was like this is \u003cem>that sound\u003c/em>.”\u003c/p>\n\n\n\n\u003cp>Between the mobby beat, Spence’s flossy lyrics and catchy hook, Bari could tell Spence was having fun in the studio. That’s the most important ingredient in making a song to dance to, Bari says: freeing yourself, and being unbothered by thoughts of going viral, or worry of any negative critiques. “You gotta cat off in the booth,” he says.\u003c/p>\n\n\n\n\u003cp>And, clearly, after you’re done having fun recording, you go to work.\u003c/p>\n\n\n\n\u003cp>With 12 months under their belts of pushing the song, their Hiero Day performance is big. While Bari has rocked the festival’s stage multiple times, Spence has only done so as a DJ. And for him, this year’s show is deeper than rap, as his late father was a huge fan of Hieroglyphics and Souls of Mischief.\u003c/p>\n\n\n\n\u003cp>“Everywhere I go I take him with me; every stage I’m on,” says Spence in respect to his father. “Plus I was born in ’93. So ‘93 ’til Infinity,’ that’s my jam.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>BossLife Big Spence and Young Bari perform Monday, Sept. 7, as part of Hiero Day at The Midway (900 Marin St, San Francisco). \u003ca href=\"https://www.hieroday.com/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>It all started with a video of Epps responding to a question about which artists he’s listening to right now. Between mentions of Kendrick Lamar and Fetty P. Franklin,”It’s a young dude out of the Bay right now named Young Bari,” \u003ca href=\"https://www.tmz.com/watch/mike-epps-odell-beckham-jr-kendrick-lamar-12-04-2025/\">Epps says\u003c/a>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“When I seen that,” Bari tells me, “I was like, ‘I gotta make a clip of this instantly and post it, so people can know we \u003cem>moving\u003c/em> right now!'”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Weeks later, when Epps was scheduled to come to the Bay for a show at Tommy T’s Comedy Club in Concord with an afterparty at Oakland’s M2 lounge, he told Spence, “Bro, we finna go pull up on Mike.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>“I’m talking about a real campaign, bro,” Bari says, explaining their grind over the past year. “We was running it up,” he exclaims. “Whatever we had to do to get the record out, we did it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Spence, who made the original version of the song while working with producer \u003ca href=\"https://www.instagram.com/payseanprod/\">PAY$EAN\u003c/a>, points out an important aspect of their promotion: it’s all been out of their own pockets. “We really put our all into the record,” says Spence, “and I think the results you see are the results of that.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Though they’re both Bay Area-raised students of hip-hop, the two artists come from different eras.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Spence, who started as a producer before stepping to the mic, has made his mark with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=brbOTU5TiKY\">The Deal\u003c/a>”by DaBoii (feat. Drakeo the Ruler) and “\u003ca href=\"https://www.youtube.com/watch?v=DuHpLZRRYIk\">Pimpin’ Like Kenny Red\u003c/a>” by Too Short (feat. Larry June). “I had a little success with my first single that I ever dropped, ‘\u003ca href=\"https://www.youtube.com/watch?v=z5i4Sa2a7k4\">10K,\u003c/a>’” he says. “But the success of ‘That’s a Playa’ is totally different.”\u003c/p>\n",
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"\n\u003cp>Spence, who started as a producer before stepping to the mic, has made his mark with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=brbOTU5TiKY\">The Deal\u003c/a>”by DaBoii (feat. Drakeo the Ruler) and “\u003ca href=\"https://www.youtube.com/watch?v=DuHpLZRRYIk\">Pimpin’ Like Kenny Red\u003c/a>” by Too Short (feat. Larry June). “I had a little success with my first single that I ever dropped, ‘\u003ca href=\"https://www.youtube.com/watch?v=z5i4Sa2a7k4\">10K,\u003c/a>’” he says. “But the success of ‘That’s a Playa’ is totally different.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>That kind of success is a new experience for Spence. But Bari has been here before.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a 10th grader at Berkeley High School, Spence saw Bari perform his classic track, “\u003ca href=\"https://www.youtube.com/watch?v=8JjvzlpNiH0&list=RD8JjvzlpNiH0&start_radio=1\">So Mobby\u003c/a>.” At the time, Spence hadn’t been to many concerts, and “definitely no rap concerts,” he says. “So when [Bari] did that, I was just so impacted. I was like, ‘Man, one day I got to have it.'”\u003c/p>\n",
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"innerHTML": "\n\u003cp>A recently shared \u003ca href=\"https://www.instagram.com/p/DcSB_hCt_d2/\">video of Bari performing in 2009 \u003c/a>shows just how lit audiences would get when “So Mobby” would come kabobulating through the speakers. Referenced in the 2012 \u003ca href=\"https://www.youtube.com/watch?v=g-iC-irllqY&list=RDg-iC-irllqY&start_radio=1\">E-40 track “Function”\u003c/a> (feat. YG, Problem and IamSu!), the song still holds its weight in the Bay Area hall of game. And Bari’s stage show is partially to credit for it.\u003c/p>\n",
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"\n\u003cp>A recently shared \u003ca href=\"https://www.instagram.com/p/DcSB_hCt_d2/\">video of Bari performing in 2009 \u003c/a>shows just how lit audiences would get when “So Mobby” would come kabobulating through the speakers. Referenced in the 2012 \u003ca href=\"https://www.youtube.com/watch?v=g-iC-irllqY&list=RDg-iC-irllqY&start_radio=1\">E-40 track “Function”\u003c/a> (feat. YG, Problem and IamSu!), the song still holds its weight in the Bay Area hall of game. And Bari’s stage show is partially to credit for it.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I grew up in the turf dancing era,” he says. “If you was in the party being a wallflower, you getting cooked, you feel me?” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Bari, who recently released the P-Lo-produced song “\u003ca href=\"https://www.youtube.com/watch?v=lkejTZUV1-U\">IN TRAFFIC\u003c/a>” (feat. Keak Da Sneak and DB Tha General) as well as “\u003ca href=\"https://www.youtube.com/watch?v=BPE-8ide9Ig\">MOBBY MIYAZAKI\u003c/a>” (a re-interpolation of “So Mobby” with Seiji Oda), possesses dance moves that entertain his peers and simultaneously pay homage to his Frisco roots.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The Get Low,” he says, “that’s a neighborhood dance. My uncle \u003ca href=\"https://www.instagram.com/reels/DVMSAkfEn99/\">J.D. Walker made that dance\u003c/a>.” The key to hitting The Get Low, says Bari, is energy. “It’s a feeling.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>While visiting the producer and going through beats, Spence played an unfinished version of “That’s a Playa.” Bari instantly felt it. “I seen the vision,” he says. “I heard the energy of it and I was like this is \u003cem>that sound\u003c/em>.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Between the mobby beat, Spence’s flossy lyrics and catchy hook, Bari could tell Spence was having fun in the studio. That’s the most important ingredient in making a song to dance to, Bari says: freeing yourself, and being unbothered by thoughts of going viral, or worry of any negative critiques. “You gotta cat off in the booth,” he says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>With 12 months under their belts of pushing the song, their Hiero Day performance is big. While Bari has rocked the festival’s stage multiple times, Spence has only done so as a DJ. And for him, this year’s show is deeper than rap, as his late father was a huge fan of Hieroglyphics and Souls of Mischief.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Everywhere I go I take him with me; every stage I’m on,” says Spence in respect to his father. “Plus I was born in ’93. So ‘93 ’til Infinity,’ that’s my jam.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>BossLife Big Spence and Young Bari perform Monday, Sept. 7, as part of Hiero Day at The Midway (900 Marin St, San Francisco). \u003ca href=\"https://www.hieroday.com/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"excerpt": "After a 12-month campaign of working the song into a hit, the duo headlines the second stage at Hiero Day.",
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"title": "How Young Bari and BossLife Big Spence’s ‘That's a Playa’ Took Over the Bay | KQED",
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"headline": "How Young Bari and BossLife Big Spence’s ‘That's a Playa’ Took Over the Bay",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Our current era is full of songs that become hits after going viral on TikTok. Meanwhile, since August of 2025, Oakland’s \u003ca href=\"https://www.instagram.com/bosslifebigspence/\">BossLife Big Spence\u003c/a> and San Francisco’s \u003ca href=\"https://www.instagram.com/y0ungbari/?hl=en\">Young Bari\u003c/a> have worked their hit song “\u003ca href=\"https://www.youtube.com/watch?v=tOg-IMiT-oU\">That’s a Playa\u003c/a>” like it’s the old days.\u003c/p>\n\n\n\n\u003cp>They’ve done local radio hits and traveled for features on \u003ca href=\"https://www.youtube.com/watch?v=xpHRNcxgBQM\">national video platforms\u003c/a>. They’ve made made guest appearances at major events, like E-40’s recent set at the Oakland Arena and a Levi’s Super Bowl event in February. They even tapped rap legends \u003ca href=\"https://www.youtube.com/watch?v=iRtSJHRx1YE\">Richie Rich, Too Short and E-40\u003c/a> for a remix, extending the song’s longevity.\u003c/p>\n\n\n\n\u003cp>Now, on Sept. 7, Spence and Bari are set to headline the second stage at the 14th annual \u003ca href=\"https://www.kqed.org/arts/13991284/hiero-day-2026-san-francisco-lineup-expansion-la-canada\">Hiero Day\u003c/a>, closing out a show with a lineup of talent that includes Mereba, DJ Jazzy Jeff and Killer Mike.\u003c/p>\n\n\n\n\u003cp>While many artists typically drop songs and then pray the algorithm helps them catch a wave, Spence and Bari say taking a single track and going on a “campaign” with it is the reason for its success. They even got a special shout out from one of the most popular comedians of the past two decades, Mike Epps.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It all started with a video of Epps responding to a question about which artists he’s listening to right now. Between mentions of Kendrick Lamar and Fetty P. Franklin,”It’s a young dude out of the Bay right now named Young Bari,” \u003ca href=\"https://www.tmz.com/watch/mike-epps-odell-beckham-jr-kendrick-lamar-12-04-2025/\">Epps says\u003c/a>.\u003c/p>\n\n\n\n\u003cp>“When I seen that,” Bari tells me, “I was like, ‘I gotta make a clip of this instantly and post it, so people can know we \u003cem>moving\u003c/em> right now!'”\u003c/p>\n\n\n\n\u003cp>Weeks later, when Epps was scheduled to come to the Bay for a show at Tommy T’s Comedy Club in Concord with an afterparty at Oakland’s M2 lounge, he told Spence, “Bro, we finna go pull up on Mike.” \u003c/p>\n\n\n\n\u003cp>Not only did they meet the award-winning actor and former host of HBO’s \u003cem>Def Comedy Jam\u003c/em>, they performed that same night. \u003c/p>\n\n\n\n\u003cp>“I’m talking about a real campaign, bro,” Bari says, explaining their grind over the past year. “We was running it up,” he exclaims. “Whatever we had to do to get the record out, we did it.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tOg-IMiT-oU'\n title='//www.youtube.com/embed/tOg-IMiT-oU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Spence, who made the original version of the song while working with producer \u003ca href=\"https://www.instagram.com/payseanprod/\">PAY$EAN\u003c/a>, points out an important aspect of their promotion: it’s all been out of their own pockets. “We really put our all into the record,” says Spence, “and I think the results you see are the results of that.”\u003c/p>\n\n\n\n\u003cp>Though they’re both Bay Area-raised students of hip-hop, the two artists come from different eras.\u003c/p>\n\n\n\n\u003cp>Spence, who started as a producer before stepping to the mic, has made his mark with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=brbOTU5TiKY\">The Deal\u003c/a>”by DaBoii (feat. Drakeo the Ruler) and “\u003ca href=\"https://www.youtube.com/watch?v=DuHpLZRRYIk\">Pimpin’ Like Kenny Red\u003c/a>” by Too Short (feat. Larry June). “I had a little success with my first single that I ever dropped, ‘\u003ca href=\"https://www.youtube.com/watch?v=z5i4Sa2a7k4\">10K,\u003c/a>’” he says. “But the success of ‘That’s a Playa’ is totally different.”\u003c/p>\n\n\n\n\u003cp>That kind of success is a new experience for Spence. But Bari has been here before.\u003c/p>\n\n\n\n\n\n\u003cp>As a 10th grader at Berkeley High School, Spence saw Bari perform his classic track, “\u003ca href=\"https://www.youtube.com/watch?v=8JjvzlpNiH0&list=RD8JjvzlpNiH0&start_radio=1\">So Mobby\u003c/a>.” At the time, Spence hadn’t been to many concerts, and “definitely no rap concerts,” he says. “So when [Bari] did that, I was just so impacted. I was like, ‘Man, one day I got to have it.'”\u003c/p>\n\n\n\n\u003cp>A recently shared \u003ca href=\"https://www.instagram.com/p/DcSB_hCt_d2/\">video of Bari performing in 2009 \u003c/a>shows just how lit audiences would get when “So Mobby” would come kabobulating through the speakers. Referenced in the 2012 \u003ca href=\"https://www.youtube.com/watch?v=g-iC-irllqY&list=RDg-iC-irllqY&start_radio=1\">E-40 track “Function”\u003c/a> (feat. YG, Problem and IamSu!), the song still holds its weight in the Bay Area hall of game. And Bari’s stage show is partially to credit for it.\u003c/p>\n\n\n\n\u003cp>“I grew up in the turf dancing era,” he says. “If you was in the party being a wallflower, you getting cooked, you feel me?” \u003c/p>\n\n\n\n\u003cp>Bari, who recently released the P-Lo-produced song “\u003ca href=\"https://www.youtube.com/watch?v=lkejTZUV1-U\">IN TRAFFIC\u003c/a>” (feat. Keak Da Sneak and DB Tha General) as well as “\u003ca href=\"https://www.youtube.com/watch?v=BPE-8ide9Ig\">MOBBY MIYAZAKI\u003c/a>” (a re-interpolation of “So Mobby” with Seiji Oda), possesses dance moves that entertain his peers and simultaneously pay homage to his Frisco roots.\u003c/p>\n\n\n\n\u003cp>“The Get Low,” he says, “that’s a neighborhood dance. My uncle \u003ca href=\"https://www.instagram.com/reels/DVMSAkfEn99/\">J.D. Walker made that dance\u003c/a>.” The key to hitting The Get Low, says Bari, is energy. “It’s a feeling.” \u003c/p>\n\n\n\n\u003cp>And it’s that same energy that led him to working with Big Spence.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-scaled.jpg\" alt=\"Three men in a recording studio, posing for a photo.\" class=\"wp-image-13993588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Young-Bari-Payean-and-BossLife-Big-Spence-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Rapper Young Bari, producer Pay$ean and rapper-producer BossLife Big Spence pose for a photo at the On The Radar studio in New York. (Courtesy of BossLife Big Spence)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>While visiting the producer and going through beats, Spence played an unfinished version of “That’s a Playa.” Bari instantly felt it. “I seen the vision,” he says. “I heard the energy of it and I was like this is \u003cem>that sound\u003c/em>.”\u003c/p>\n\n\n\n\u003cp>Between the mobby beat, Spence’s flossy lyrics and catchy hook, Bari could tell Spence was having fun in the studio. That’s the most important ingredient in making a song to dance to, Bari says: freeing yourself, and being unbothered by thoughts of going viral, or worry of any negative critiques. “You gotta cat off in the booth,” he says.\u003c/p>\n\n\n\n\u003cp>And, clearly, after you’re done having fun recording, you go to work.\u003c/p>\n\n\n\n\u003cp>With 12 months under their belts of pushing the song, their Hiero Day performance is big. While Bari has rocked the festival’s stage multiple times, Spence has only done so as a DJ. And for him, this year’s show is deeper than rap, as his late father was a huge fan of Hieroglyphics and Souls of Mischief.\u003c/p>\n\n\n\n\u003cp>“Everywhere I go I take him with me; every stage I’m on,” says Spence in respect to his father. “Plus I was born in ’93. So ‘93 ’til Infinity,’ that’s my jam.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>BossLife Big Spence and Young Bari perform Monday, Sept. 7, as part of Hiero Day at The Midway (900 Marin St, San Francisco). \u003ca href=\"https://www.hieroday.com/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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