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"content": "\u003cp>Dressed in a black leather jacket and dark-rimmed glasses, Daniel Kim, lead singer of K-indie rock group \u003ca href=\"https://www.instagram.com/wave_to_earth/\">Wave to Earth\u003c/a>, strummed a few chords under the Masonic’s deep, purple lights as if lost in a melodic train of thought. After a minute or so of anticipatory playing, he turned to the audience, light reflecting off his yellow electric guitar.\u003c/p>\n\u003cp>“Can we sing together?” he asked. The San Francisco crowd roared in response and began to shout along the first few bars of Wave to Earth’s 2023 hit song “\u003ca href=\"https://youtu.be/6Q5xqNkCk7w?si=26p1HiXl-ffYJeDo\">bad\u003c/a>.”\u003c/p>\n\u003cp>The band, which is based in Seoul and sings in English, has been steadily gaining more American fans since the release of their first studio album, \u003cem>0.1 flaws and all.\u003c/em>, in 2023. They played a sold-out show in Oakland the night before their Saturday San Francisco concert.\u003c/p>\n\u003cfigure id=\"attachment_13965384\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315.jpg\" alt=\"\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-1920x1279.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Kim of South Korean indie rock band Wave to Earth performs at the Incheon Pentaport Music Festival 2024 on Aug. 2, 2024 in Incheon, South Korea. \u003ccite>(Photo by Justin Shin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although they toured in North America just last year, Wave to Earth’s current world tour is a chance for them to expand their reach and elevate their status from emerging artist to established. Kim, who is also the group’s lead guitar player, is one of three permanent members, along with bassist John Cha and drummer Dong Q. Their second studio album p\u003cem>lay with earth! 0.03\u003c/em> dropped earlier this month, and along for the ride on the tour are fellow musicians Jo Jung-geun (keyboard) and Jeon-min (saxophone).\u003c/p>\n\u003cp>At their show, the band drifted from playfully soft, dreamy tracks like “\u003ca href=\"https://www.youtube.com/watch?v=nZqwQCLYgjk\">seasons\u003c/a>” and brighter, more upbeat songs with jazz-infused drumming styles, like that of “\u003ca href=\"https://youtu.be/Eh7xsHKQ_6k?si=INdEYDrhmXy9s-DU\">pueblo\u003c/a>.” With the saxophone thrown in too, the show felt more like a casual jam session than a carefully orchestrated concert. If this were a modern-day episode of \u003cem>Buffy the Vampire Slayer\u003c/em>, Wave to Earth’s vibe would absolutely mesh with \u003ca href=\"https://youtu.be/DObRviejtqw?si=rSeRE0Ycn-uzFy0m\">bands playing The Bronze\u003c/a>. [aside postid='art_13963789']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The young audience, a wide mix of Asian Americans and white folks, had a vibe that was incredibly wholesome. Four guys in front of me all threw their arms around each other and swayed along to “\u003ca href=\"https://youtu.be/Q49pnA4jsp8?si=tHoKVo_izgChverv\">love.\u003c/a>” during the encore. (I also envied them for remembering to bring their digital cameras — one inch lenses are allowed inside the Masonic! — for cooler photos.) But what made an even bigger impression was how well the fans matched Wave to Earth’s energy.\u003c/p>\n\u003cp>“The only reason that we can be on stage is because of you,” Kim said toward the end of the show. “But sadly, we only have two songs left —” The crowd cut him off, screaming wildly in opposition. Kim tried again. “Just two more songs —” The audience drowned him out even faster, and he gave up, smiling in defeat.\u003c/p>\n\u003cfigure id=\"attachment_13965385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soonjong Cha and Daniel Kim of South Korean indie rock band Wave to Earth perform at the Incheon Pentaport Music Festival 2024 on Aug. 2, 2024 in Incheon, South Korea. \u003ccite>(Justin Shin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I couldn’t blame the audience one bit for their reactions. There was something special about being able to see the way the band members collaborated together on stage to bring fans’ favorite tracks to life, and their extended instrumental interludes elevated their sound. At times it toed the line between rock and jazz, especially with the smooth, rich tones of Jeon-min on saxophone. Kim, too, was especially entertaining to watch as he made his way across the stage to jam directly with Cha and Dong Q.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before they left the stage for good, all of the members sat down on stage to take a group photo with the audience. It was a perfect way to wrap the show for the group, whose depth, range and passion won’t be soon forgotten in the Bay Area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dressed in a black leather jacket and dark-rimmed glasses, Daniel Kim, lead singer of K-indie rock group \u003ca href=\"https://www.instagram.com/wave_to_earth/\">Wave to Earth\u003c/a>, strummed a few chords under the Masonic’s deep, purple lights as if lost in a melodic train of thought. After a minute or so of anticipatory playing, he turned to the audience, light reflecting off his yellow electric guitar.\u003c/p>\n\u003cp>“Can we sing together?” he asked. The San Francisco crowd roared in response and began to shout along the first few bars of Wave to Earth’s 2023 hit song “\u003ca href=\"https://youtu.be/6Q5xqNkCk7w?si=26p1HiXl-ffYJeDo\">bad\u003c/a>.”\u003c/p>\n\u003cp>The band, which is based in Seoul and sings in English, has been steadily gaining more American fans since the release of their first studio album, \u003cem>0.1 flaws and all.\u003c/em>, in 2023. They played a sold-out show in Oakland the night before their Saturday San Francisco concert.\u003c/p>\n\u003cfigure id=\"attachment_13965384\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315.jpg\" alt=\"\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959315-1920x1279.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Kim of South Korean indie rock band Wave to Earth performs at the Incheon Pentaport Music Festival 2024 on Aug. 2, 2024 in Incheon, South Korea. \u003ccite>(Photo by Justin Shin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although they toured in North America just last year, Wave to Earth’s current world tour is a chance for them to expand their reach and elevate their status from emerging artist to established. Kim, who is also the group’s lead guitar player, is one of three permanent members, along with bassist John Cha and drummer Dong Q. Their second studio album p\u003cem>lay with earth! 0.03\u003c/em> dropped earlier this month, and along for the ride on the tour are fellow musicians Jo Jung-geun (keyboard) and Jeon-min (saxophone).\u003c/p>\n\u003cp>At their show, the band drifted from playfully soft, dreamy tracks like “\u003ca href=\"https://www.youtube.com/watch?v=nZqwQCLYgjk\">seasons\u003c/a>” and brighter, more upbeat songs with jazz-infused drumming styles, like that of “\u003ca href=\"https://youtu.be/Eh7xsHKQ_6k?si=INdEYDrhmXy9s-DU\">pueblo\u003c/a>.” With the saxophone thrown in too, the show felt more like a casual jam session than a carefully orchestrated concert. If this were a modern-day episode of \u003cem>Buffy the Vampire Slayer\u003c/em>, Wave to Earth’s vibe would absolutely mesh with \u003ca href=\"https://youtu.be/DObRviejtqw?si=rSeRE0Ycn-uzFy0m\">bands playing The Bronze\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The young audience, a wide mix of Asian Americans and white folks, had a vibe that was incredibly wholesome. Four guys in front of me all threw their arms around each other and swayed along to “\u003ca href=\"https://youtu.be/Q49pnA4jsp8?si=tHoKVo_izgChverv\">love.\u003c/a>” during the encore. (I also envied them for remembering to bring their digital cameras — one inch lenses are allowed inside the Masonic! — for cooler photos.) But what made an even bigger impression was how well the fans matched Wave to Earth’s energy.\u003c/p>\n\u003cp>“The only reason that we can be on stage is because of you,” Kim said toward the end of the show. “But sadly, we only have two songs left —” The crowd cut him off, screaming wildly in opposition. Kim tried again. “Just two more songs —” The audience drowned him out even faster, and he gave up, smiling in defeat.\u003c/p>\n\u003cfigure id=\"attachment_13965385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2164959722-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soonjong Cha and Daniel Kim of South Korean indie rock band Wave to Earth perform at the Incheon Pentaport Music Festival 2024 on Aug. 2, 2024 in Incheon, South Korea. \u003ccite>(Justin Shin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I couldn’t blame the audience one bit for their reactions. There was something special about being able to see the way the band members collaborated together on stage to bring fans’ favorite tracks to life, and their extended instrumental interludes elevated their sound. At times it toed the line between rock and jazz, especially with the smooth, rich tones of Jeon-min on saxophone. Kim, too, was especially entertaining to watch as he made his way across the stage to jam directly with Cha and Dong Q.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before they left the stage for good, all of the members sat down on stage to take a group photo with the audience. It was a perfect way to wrap the show for the group, whose depth, range and passion won’t be soon forgotten in the Bay Area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The pandemic’s Verzuz battles were meant to have no winner, but anyone who witnessed \u003ca href=\"https://www.youtube.com/watch?v=nP4_0d1npjk\">Dipset getting their lunch eaten in real time by The Lox\u003c/a> will tell you: it was a jubilant massacre, and a masterclass in coming prepared. \u003c/p>\n\u003cp>That The Lox are still killing shows almost three decades in should be no surprise. Rather than slinging alcohol like other seasoned rap veterans, the group’s Styles P has found entrepreneurship in \u003ca href=\"https://web.archive.org/web/20231201075120/https://gothamist.com/arts-entertainment/after-25-years-of-rapping-nycs-styles-p-is-ready-to-focus-on-his-wellness-empire\">wellness\u003c/a> and runs \u003ca href=\"https://farmacares.org/\">a vegan nonprofit\u003c/a>. Jadakiss has a \u003ca href=\"https://www.kisscafecoffee.com/\">coffee brand\u003c/a>. Sheek Louch invests in \u003ca href=\"https://editionml.com/sheek-louch-real-estate-tips-music-interview\">real estate\u003c/a>. They’re taking care of themselves. \u003c/p>\n\u003cp>Fresh off an \u003ca href=\"https://www.npr.org/2024/08/01/g-s1-14761/the-lox-tiny-desk-concert\">NPR Tiny Desk appearance\u003c/a>, the Yonkers trio is currently on tour during \u003ca href=\"https://www.nytimes.com/2024/09/19/podcasts/the-sean-diddy-combs-charges-explained.html\">some bombshell revelations about their former label boss\u003c/a>, and one can only imagine the conversations on the tour bus. The Lox famously dumped Diddy after their debut album \u003cem>Money, Power & Respect\u003c/em>, and took shots at him on their follow-up \u003cem>We Are The Streets\u003c/em>; by the time they reach San Francisco on Sunday night, expect an extra bit of fire in their delivery.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Lox perform with Tony Moxberg, Stunnaman02 and C5 on Sunday, Sept. 22, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/?event_id=538357\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pandemic’s Verzuz battles were meant to have no winner, but anyone who witnessed \u003ca href=\"https://www.youtube.com/watch?v=nP4_0d1npjk\">Dipset getting their lunch eaten in real time by The Lox\u003c/a> will tell you: it was a jubilant massacre, and a masterclass in coming prepared. \u003c/p>\n\u003cp>That The Lox are still killing shows almost three decades in should be no surprise. Rather than slinging alcohol like other seasoned rap veterans, the group’s Styles P has found entrepreneurship in \u003ca href=\"https://web.archive.org/web/20231201075120/https://gothamist.com/arts-entertainment/after-25-years-of-rapping-nycs-styles-p-is-ready-to-focus-on-his-wellness-empire\">wellness\u003c/a> and runs \u003ca href=\"https://farmacares.org/\">a vegan nonprofit\u003c/a>. Jadakiss has a \u003ca href=\"https://www.kisscafecoffee.com/\">coffee brand\u003c/a>. Sheek Louch invests in \u003ca href=\"https://editionml.com/sheek-louch-real-estate-tips-music-interview\">real estate\u003c/a>. They’re taking care of themselves. \u003c/p>\n\u003cp>Fresh off an \u003ca href=\"https://www.npr.org/2024/08/01/g-s1-14761/the-lox-tiny-desk-concert\">NPR Tiny Desk appearance\u003c/a>, the Yonkers trio is currently on tour during \u003ca href=\"https://www.nytimes.com/2024/09/19/podcasts/the-sean-diddy-combs-charges-explained.html\">some bombshell revelations about their former label boss\u003c/a>, and one can only imagine the conversations on the tour bus. The Lox famously dumped Diddy after their debut album \u003cem>Money, Power & Respect\u003c/em>, and took shots at him on their follow-up \u003cem>We Are The Streets\u003c/em>; by the time they reach San Francisco on Sunday night, expect an extra bit of fire in their delivery.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Lox perform with Tony Moxberg, Stunnaman02 and C5 on Sunday, Sept. 22, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/?event_id=538357\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The tango is a luscious expression of lost love, nostalgia and melancholia — and a staple of Argentinian life.\u003c/p>\n\u003cp>In the hands of Elyot and Amanda, their tango is perfect: a soft kick here, a gentle spin there, with bodies that flutter close together to turn their hot breath into hotter fire. But when the dance pauses, the fire of their passion turns to embers, reminding them why they got divorced in the first place. \u003c/p>\n\u003cp>The aesthetically pleasing production of Noël Coward’s \u003cem>Private Lives\u003c/em> at American Conservatory Theater (ACT), running through Oct. 6, conveys an irresistible sensuality. Tanya Orellana’s scenic design is its own star of the show, with bright splashes of color that contrast with the darkness of Coward’s heady script. The terrific cast of four is guided masterfully by director KJ Sanchez (paired smoothly with tango instructor Lisette Perelle), who pulls every little ditty of physical humor out of Coward’s pithy comedy of manners.\u003c/p>\n\u003cfigure id=\"attachment_13965260\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hugo E. Carbajal and Sarita Ocón in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, there aren’t nearly enough of those ditties to sustain the humor over the play’s two-hour run time. Too many moments lack purposeful urgency. The script itself is a relic and meanders far too long, oftentimes being overly chatty without saying much. The task of a modern production like ACT’s — one in which it mostly succeeds — is to gloss over these deficiencies with aplomb.\u003c/p>\n\u003cp>[aside postID='arts_13963021']Elyot Chase (Hugo E. Carbajal) and his new bride Sibyl (Gianna DeGregorio Rivera) are on their honeymoon, toasting to new beginnings. Elyot’s marriage to Amanda (Sarita Ocón) is a thing of the past, and Amanda is now the bride of Victor (Brady Morales-Woolery). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As fate would have it, only a small fence separates the couples at their honeymoon hotel. On the hotel balcony, love, lust and loathing overtake Elyot and Amanda in equal measure; their harmonious accord as dance partners makes the inadequacies of prior passions easy to forget.\u003c/p>\n\u003cfigure id=\"attachment_13965256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Hugo E. Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As is to be expected in a genre where social conventions are upended by manipulative characters shallower than a dry puddle, Amanda and Elyot take turns being more awful than the other, all while consuming an endless fountain of brandy. Negotiating the whims of Elyot and Amanda is its own dance for Sibyl and Victor, collateral damage in the selfish pursuits of two who treat marriage as less important than an elementary school promise ring.\u003c/p>\n\u003cp>While the dialogue drags, the production positively soars in the machinations of physicality. You can feel the creativity of Sanchez oozing into every little onstage step, stutter and shake. As Elyot, Carbajal’s motions are loaded with spry dexterity. (Take note of his stylized pushups, his fantastically sensual bit with a robe, and his command of the tango.) Even moments of the script’s problematic nature, dealing with domestic violence, are treated softly and skillfully with highly choreographed and playful physicality from the entire talented cast. \u003c/p>\n\u003cp>Every bit Carbajal’s equal is Ocón, a phenomenal performer built for both classic and contemporary interpretations. While her Amanda is putty in the hands of Elyot’s smooth sauntering, Ocón’s ability with some of Coward’s most universe-revealing lines in response to Elyot’s raging misogyny is a marvel. \u003c/p>\n\u003cfigure id=\"attachment_13965258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón, Hugo E Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Rivera and Morales-Woolery force their characters to disrupt the chaos that Elyot and Amanda bring, and their subtlety at allowing Coward’s humor to flow naturally presents delightful foils to their counterparts. They are part of an overall cast unified with skill and substance.\u003c/p>\n\u003cp>There are a million reasons why the characters in \u003cem>Private Lives\u003c/em> shouldn’t be anywhere near a relationship with another human. But if this reinvention of Coward’s classic proves anything, it’s that when a problem comes face-to-face with the tango, the stirring and sophisticated dance has always been, and forever will be, undefeated. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Private Lives’ runs through Sunday, Oct. 6, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Review: Love Is an Argentinian Tango in ACT’s ‘Private Lives’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tango is a luscious expression of lost love, nostalgia and melancholia — and a staple of Argentinian life.\u003c/p>\n\u003cp>In the hands of Elyot and Amanda, their tango is perfect: a soft kick here, a gentle spin there, with bodies that flutter close together to turn their hot breath into hotter fire. But when the dance pauses, the fire of their passion turns to embers, reminding them why they got divorced in the first place. \u003c/p>\n\u003cp>The aesthetically pleasing production of Noël Coward’s \u003cem>Private Lives\u003c/em> at American Conservatory Theater (ACT), running through Oct. 6, conveys an irresistible sensuality. Tanya Orellana’s scenic design is its own star of the show, with bright splashes of color that contrast with the darkness of Coward’s heady script. The terrific cast of four is guided masterfully by director KJ Sanchez (paired smoothly with tango instructor Lisette Perelle), who pulls every little ditty of physical humor out of Coward’s pithy comedy of manners.\u003c/p>\n\u003cfigure id=\"attachment_13965260\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hugo E. Carbajal and Sarita Ocón in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, there aren’t nearly enough of those ditties to sustain the humor over the play’s two-hour run time. Too many moments lack purposeful urgency. The script itself is a relic and meanders far too long, oftentimes being overly chatty without saying much. The task of a modern production like ACT’s — one in which it mostly succeeds — is to gloss over these deficiencies with aplomb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elyot Chase (Hugo E. Carbajal) and his new bride Sibyl (Gianna DeGregorio Rivera) are on their honeymoon, toasting to new beginnings. Elyot’s marriage to Amanda (Sarita Ocón) is a thing of the past, and Amanda is now the bride of Victor (Brady Morales-Woolery). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As fate would have it, only a small fence separates the couples at their honeymoon hotel. On the hotel balcony, love, lust and loathing overtake Elyot and Amanda in equal measure; their harmonious accord as dance partners makes the inadequacies of prior passions easy to forget.\u003c/p>\n\u003cfigure id=\"attachment_13965256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Hugo E. Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As is to be expected in a genre where social conventions are upended by manipulative characters shallower than a dry puddle, Amanda and Elyot take turns being more awful than the other, all while consuming an endless fountain of brandy. Negotiating the whims of Elyot and Amanda is its own dance for Sibyl and Victor, collateral damage in the selfish pursuits of two who treat marriage as less important than an elementary school promise ring.\u003c/p>\n\u003cp>While the dialogue drags, the production positively soars in the machinations of physicality. You can feel the creativity of Sanchez oozing into every little onstage step, stutter and shake. As Elyot, Carbajal’s motions are loaded with spry dexterity. (Take note of his stylized pushups, his fantastically sensual bit with a robe, and his command of the tango.) Even moments of the script’s problematic nature, dealing with domestic violence, are treated softly and skillfully with highly choreographed and playful physicality from the entire talented cast. \u003c/p>\n\u003cp>Every bit Carbajal’s equal is Ocón, a phenomenal performer built for both classic and contemporary interpretations. While her Amanda is putty in the hands of Elyot’s smooth sauntering, Ocón’s ability with some of Coward’s most universe-revealing lines in response to Elyot’s raging misogyny is a marvel. \u003c/p>\n\u003cfigure id=\"attachment_13965258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón, Hugo E Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Rivera and Morales-Woolery force their characters to disrupt the chaos that Elyot and Amanda bring, and their subtlety at allowing Coward’s humor to flow naturally presents delightful foils to their counterparts. They are part of an overall cast unified with skill and substance.\u003c/p>\n\u003cp>There are a million reasons why the characters in \u003cem>Private Lives\u003c/em> shouldn’t be anywhere near a relationship with another human. But if this reinvention of Coward’s classic proves anything, it’s that when a problem comes face-to-face with the tango, the stirring and sophisticated dance has always been, and forever will be, undefeated. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Private Lives’ runs through Sunday, Oct. 6, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-african-restaurant-week-nigerian-ethiopian-jollof-oakland",
"title": "The Bay’s First African Restaurant Week Celebrates the Whole Continent",
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"headTitle": "The Bay’s First African Restaurant Week Celebrates the Whole Continent | KQED",
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"content": "\u003cp>The Bay Area is home to decades-old \u003ca href=\"https://www.kqed.org/arts/13905230/zeni-ethiopian-restaurant-san-jose\">kitfo houses\u003c/a>, spirited \u003ca href=\"https://www.kqed.org/arts/13960580/jollof-festival-oakland-west-african-food-competition-nigerian-sierra-leone\">jollof rivalries\u003c/a> and innovative \u003ca href=\"https://www.kqed.org/arts/13938506/cafe-colucci-pop-up-oakland-ethiopian-ghanaian-selasie-dotse\">Ghanaian-Ethiopian fine dining mashups\u003c/a>. But it has never had an entire week dedicated to celebrating the African continent’s diverse and varied cuisines.\u003c/p>\n\u003cp>Until now, that is. Today, the first ever \u003ca href=\"https://africanrestaurantweek.com/bayarea/\">Bay Area African Restaurant Week\u003c/a> kicks off with a slew of prix-fixe meal deals and pop-up events, mostly spread across the East Bay and San Francisco. Organizers hope the ten-day promotion, which runs from Sept. 12–22, will give a boost to some of the region’s up-and-coming African and Afro-Caribbean food businesses — and that it will be the start of a rich and flavor-packed annual tradition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13960580']\u003c/span>Co-organizer Kemi Tijaniqudus of the Nigerian food truck \u003ca href=\"https://www.instagram.com/jollofkitchen/\">Jollof Kitchen\u003c/a> says she first started thinking about organizing some kind of African food festival as early as 2015. Her idea, she says, was to bring greater visibility to cuisines from across the continent — “west, east, north, south” — beyond the handful of African dishes, like jollof rice and the \u003ca href=\"https://eastbayexpress.com/the-curious-history-of-the-eritrean-and-ethiopian-veggie-combo-2-1/\">Ethiopian veggie combo\u003c/a>, that have already gained mainstream traction.\u003c/p>\n\u003cp>“People know Ethiopian food and West African food, but you hardly hear people talk about Zimbabwe, South Africa or Rwanda,” she says.\u003c/p>\n\u003cp>For several years, though, the everyday demands of operating a food truck business didn’t leave Tijaniqudus with enough bandwidth to put together an event on the scale and scope she was imagining. Then she heard about \u003ca href=\"https://africanrestaurantweek.com/\">African Restaurant Week\u003c/a>, a national organization based in New York that has been hosting weeklong African restaurant promotions in cities across the country \u003ca href=\"https://www.prlog.org/12215599-nyc-celebrates-its-first-ever-african-restaurant-week-2013.html\">since 2013\u003c/a>. Why not pool resources with a group that was already doing the work to highlight African food and culture, and had experience with the logistics of putting a large-scale event like this together? So, Tijaniqudus reached out and initiated a collaboration with African Restaurant Week founder Akin Akinsanya.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting Bay Area African Restaurant Week is a cross between a traditional restaurant week promotion and the kind of grand, one-day festival that Tijaniqudus had initially envisioned. As with any other restaurant week, the 25 African restaurants who have currently signed up to participate will offer special discounted meal deals over the course of those ten days. But the event will also be bookended with big, audacious kickoff and closing parties that spotlight food trucks, caterers and other smaller vendors that don’t have a regular brick-and-mortar location. Like other African Restaurant Week events across the country, the Bay Area iteration will also showcase cuisines from across the African diaspora, particularly the Afro-Caribbean islands.\u003c/p>\n\u003cfigure id=\"attachment_13954275\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl.jpg\" alt=\"Beef curry bowl loaded with beans and greens.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Tanzanian beef curry bowl at Oakland’s Swahili Spot, one of the local restaurants participating in African Restaurant Week. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/kick-off-bay-area-african-restaurant-week-2024-tickets-1004733172967?aff=oddtdtcreator\">Sept. 13 kickoff event\u003c/a> at Oakland’s Parliament nightclub, for instance, will feature Ghanaian jollof from \u003ca href=\"https://www.instagram.com/jaybabas_kitchen/\">JayBaba’s Kitchen\u003c/a>, Zimbabwean sadza (cornmeal mash) served with sardines or peanut butter chicken from \u003ca href=\"https://nendoro.co/pages/vumba-mts-kitchen-menu?srsltid=AfmBOop-PsKc0ODvL7d101ykUHRrcIKFse4G-vqP8-cLrlylMXmqH2vu\">Vumba Mts Kitchen\u003c/a>, Gambian food from San Jose-based Tutti Fruti Kitchen and Nigerian food from \u003ca href=\"https://www.instagram.com/thegrubrepublic_/?hl=en\">The Grub Republic\u003c/a> — plus music from a lineup of local AfroBeats DJs. \u003ca href=\"https://www.instagram.com/p/C_uOK2xM79i/?img_index=1\">Another pop-up\u003c/a>, held on Sept. 14 at Oakland’s Zanzi dance club, will focus on Nigeria’s street food–style grilled meats known as suya.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13960933,arts_13954267']\u003c/span>Meanwhile, the \u003ca href=\"https://www.eventbrite.com/e/bay-area-african-restaurant-week-festival-2024-tickets-944469241927?aff=oddtdtcreator\">Sept. 22 close-out event\u003c/a> at \u003ca href=\"https://www.instagram.com/fortheculture701/?hl=en\">For the Culture\u003c/a> will be even larger in scale, with restaurants like Swahili Spot (the \u003ca href=\"https://www.kqed.org/arts/13954267/tanzanian-restaurant-swahili-spot-west-oakland-curry\">Bay Area’s only Tanzanian restaurant\u003c/a>) and Tijaniqudus’ own \u003ca href=\"https://www.kqed.org/arts/13960580/jollof-festival-oakland-west-african-food-competition-nigerian-sierra-leone\">jollof championship–winning truck\u003c/a>, Jollof Kitchen, joining the festivities, along with a cooking competition for home cooks, a retail marketplace, and an array of cultural performances.\u003c/p>\n\u003cp>\u003ca href=\"https://africanrestaurantweek.com/bayarea/\">Most of the restaurants participating in the ten-day promotion\u003c/a> will offer a 10% discount to customers who mention African Restaurant Week. That includes high-profile spots like \u003ca href=\"https://azizasf.com/\">Aziza\u003c/a>, the upscale Moroccan restaurant in San Francisco’s Outer Richmond neighborhood, as well as relative newcomers like \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’Chaka\u003c/a>, the Haitian standout in Old Oakland. A few, like Oakland’s Trinidadian hot spot, \u003ca href=\"https://www.instagram.com/cocobreezeco/?hl=en\">Cocobreeze\u003c/a>, will also offer special combo meals and a prix-fixe deal — $65 for a four-course meal for two. And Golden Safari, a popular Nigerian restaurant in Hayward, will give away hand-crafted commemorative Nigerian plateware as a souvenir.\u003c/p>\n\u003cfigure id=\"attachment_13936339\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot.jpg\" alt=\"Fried pork, rice, plantains and pikliz (pickled cabbage and carrots) on a dark blue plate.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-1920x1320.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Griot, a citrus-marinated fried pork dish, is one of the Haitian specialties served at T’chaka in Old Oakland. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964189\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo.jpg\" alt=\"Takeout container with curry goat, braised oxtails, plantains, and rice and peas.\" width=\"2000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-1920x1200.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A “Best of Both Worlds” combo plate with oxtails and curry goat — one of Cocobreeze’s African Restaurant Week specials. \u003ccite>(Courtesy of Cocobreeze)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, the very existence of Bay Area African Restaurant Week is a testament to how much more mainstream exposure the cuisines of the African diaspora have achieved over the past several years. An event of this scale would have been almost inconceivable in the Bay Area even a decade ago, when very few of these cuisines had received much local recognition or coverage outside of the immigrant communities themselves.\u003c/p>\n\u003cp>Tijaniqudus says that as much as she has always loved sharing her own Nigerian culture and food, she hopes this restaurant week will help take the Bay Area’s African food scene to the next level.\u003c/p>\n\u003cp>“People know jollof, jollof, jollof,” she says. “We want people to taste all of the African foods.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bay Area African Restaurant Week will run from Sept. 12–22. An updated (and growing) list of participating restaurants is available on the \u003c/i>\u003ca href=\"https://africanrestaurantweek.com/bayarea/\">\u003ci>African Restaurant Week website\u003c/i>\u003c/a>\u003ci>. The \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/kick-off-bay-area-african-restaurant-week-2024-tickets-1004733172967?aff=oddtdtcreator\">\u003ci>kickoff party\u003c/i>\u003c/a>\u003ci> will be held on Friday, Sept. 13 from 6–10 p.m. at Parliament (811 Washington St., Oakland). The \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/bay-area-african-restaurant-week-festival-2024-tickets-944469241927?aff=oddtdtcreator\">\u003ci>closing festival\u003c/i>\u003c/a>\u003ci> at For the Culture (701 Clay St., Oakland) will be held on Sunday, Sept. 22 from noon–7 p.m. Tickets for both events are currently free when reserved in advance; food and beverages will be sold a la carte.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A stacked lineup of pop-ups, dance parties and discounted menu items will highlight both wildly popular and lesser known national cuisines.",
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"title": "The First Bay Area African Restaurant Week Celebrates the Whole Continent | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is home to decades-old \u003ca href=\"https://www.kqed.org/arts/13905230/zeni-ethiopian-restaurant-san-jose\">kitfo houses\u003c/a>, spirited \u003ca href=\"https://www.kqed.org/arts/13960580/jollof-festival-oakland-west-african-food-competition-nigerian-sierra-leone\">jollof rivalries\u003c/a> and innovative \u003ca href=\"https://www.kqed.org/arts/13938506/cafe-colucci-pop-up-oakland-ethiopian-ghanaian-selasie-dotse\">Ghanaian-Ethiopian fine dining mashups\u003c/a>. But it has never had an entire week dedicated to celebrating the African continent’s diverse and varied cuisines.\u003c/p>\n\u003cp>Until now, that is. Today, the first ever \u003ca href=\"https://africanrestaurantweek.com/bayarea/\">Bay Area African Restaurant Week\u003c/a> kicks off with a slew of prix-fixe meal deals and pop-up events, mostly spread across the East Bay and San Francisco. Organizers hope the ten-day promotion, which runs from Sept. 12–22, will give a boost to some of the region’s up-and-coming African and Afro-Caribbean food businesses — and that it will be the start of a rich and flavor-packed annual tradition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Co-organizer Kemi Tijaniqudus of the Nigerian food truck \u003ca href=\"https://www.instagram.com/jollofkitchen/\">Jollof Kitchen\u003c/a> says she first started thinking about organizing some kind of African food festival as early as 2015. Her idea, she says, was to bring greater visibility to cuisines from across the continent — “west, east, north, south” — beyond the handful of African dishes, like jollof rice and the \u003ca href=\"https://eastbayexpress.com/the-curious-history-of-the-eritrean-and-ethiopian-veggie-combo-2-1/\">Ethiopian veggie combo\u003c/a>, that have already gained mainstream traction.\u003c/p>\n\u003cp>“People know Ethiopian food and West African food, but you hardly hear people talk about Zimbabwe, South Africa or Rwanda,” she says.\u003c/p>\n\u003cp>For several years, though, the everyday demands of operating a food truck business didn’t leave Tijaniqudus with enough bandwidth to put together an event on the scale and scope she was imagining. Then she heard about \u003ca href=\"https://africanrestaurantweek.com/\">African Restaurant Week\u003c/a>, a national organization based in New York that has been hosting weeklong African restaurant promotions in cities across the country \u003ca href=\"https://www.prlog.org/12215599-nyc-celebrates-its-first-ever-african-restaurant-week-2013.html\">since 2013\u003c/a>. Why not pool resources with a group that was already doing the work to highlight African food and culture, and had experience with the logistics of putting a large-scale event like this together? So, Tijaniqudus reached out and initiated a collaboration with African Restaurant Week founder Akin Akinsanya.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The resulting Bay Area African Restaurant Week is a cross between a traditional restaurant week promotion and the kind of grand, one-day festival that Tijaniqudus had initially envisioned. As with any other restaurant week, the 25 African restaurants who have currently signed up to participate will offer special discounted meal deals over the course of those ten days. But the event will also be bookended with big, audacious kickoff and closing parties that spotlight food trucks, caterers and other smaller vendors that don’t have a regular brick-and-mortar location. Like other African Restaurant Week events across the country, the Bay Area iteration will also showcase cuisines from across the African diaspora, particularly the Afro-Caribbean islands.\u003c/p>\n\u003cfigure id=\"attachment_13954275\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl.jpg\" alt=\"Beef curry bowl loaded with beans and greens.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/swahili-spot-beef-bowl-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Tanzanian beef curry bowl at Oakland’s Swahili Spot, one of the local restaurants participating in African Restaurant Week. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/kick-off-bay-area-african-restaurant-week-2024-tickets-1004733172967?aff=oddtdtcreator\">Sept. 13 kickoff event\u003c/a> at Oakland’s Parliament nightclub, for instance, will feature Ghanaian jollof from \u003ca href=\"https://www.instagram.com/jaybabas_kitchen/\">JayBaba’s Kitchen\u003c/a>, Zimbabwean sadza (cornmeal mash) served with sardines or peanut butter chicken from \u003ca href=\"https://nendoro.co/pages/vumba-mts-kitchen-menu?srsltid=AfmBOop-PsKc0ODvL7d101ykUHRrcIKFse4G-vqP8-cLrlylMXmqH2vu\">Vumba Mts Kitchen\u003c/a>, Gambian food from San Jose-based Tutti Fruti Kitchen and Nigerian food from \u003ca href=\"https://www.instagram.com/thegrubrepublic_/?hl=en\">The Grub Republic\u003c/a> — plus music from a lineup of local AfroBeats DJs. \u003ca href=\"https://www.instagram.com/p/C_uOK2xM79i/?img_index=1\">Another pop-up\u003c/a>, held on Sept. 14 at Oakland’s Zanzi dance club, will focus on Nigeria’s street food–style grilled meats known as suya.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Meanwhile, the \u003ca href=\"https://www.eventbrite.com/e/bay-area-african-restaurant-week-festival-2024-tickets-944469241927?aff=oddtdtcreator\">Sept. 22 close-out event\u003c/a> at \u003ca href=\"https://www.instagram.com/fortheculture701/?hl=en\">For the Culture\u003c/a> will be even larger in scale, with restaurants like Swahili Spot (the \u003ca href=\"https://www.kqed.org/arts/13954267/tanzanian-restaurant-swahili-spot-west-oakland-curry\">Bay Area’s only Tanzanian restaurant\u003c/a>) and Tijaniqudus’ own \u003ca href=\"https://www.kqed.org/arts/13960580/jollof-festival-oakland-west-african-food-competition-nigerian-sierra-leone\">jollof championship–winning truck\u003c/a>, Jollof Kitchen, joining the festivities, along with a cooking competition for home cooks, a retail marketplace, and an array of cultural performances.\u003c/p>\n\u003cp>\u003ca href=\"https://africanrestaurantweek.com/bayarea/\">Most of the restaurants participating in the ten-day promotion\u003c/a> will offer a 10% discount to customers who mention African Restaurant Week. That includes high-profile spots like \u003ca href=\"https://azizasf.com/\">Aziza\u003c/a>, the upscale Moroccan restaurant in San Francisco’s Outer Richmond neighborhood, as well as relative newcomers like \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’Chaka\u003c/a>, the Haitian standout in Old Oakland. A few, like Oakland’s Trinidadian hot spot, \u003ca href=\"https://www.instagram.com/cocobreezeco/?hl=en\">Cocobreeze\u003c/a>, will also offer special combo meals and a prix-fixe deal — $65 for a four-course meal for two. And Golden Safari, a popular Nigerian restaurant in Hayward, will give away hand-crafted commemorative Nigerian plateware as a souvenir.\u003c/p>\n\u003cfigure id=\"attachment_13936339\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot.jpg\" alt=\"Fried pork, rice, plantains and pikliz (pickled cabbage and carrots) on a dark blue plate.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/tchaka_griot-1920x1320.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Griot, a citrus-marinated fried pork dish, is one of the Haitian specialties served at T’chaka in Old Oakland. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964189\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo.jpg\" alt=\"Takeout container with curry goat, braised oxtails, plantains, and rice and peas.\" width=\"2000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Oxtails-and-Curry-Goat-Best-of-Both-Worlds-Combo-1920x1200.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A “Best of Both Worlds” combo plate with oxtails and curry goat — one of Cocobreeze’s African Restaurant Week specials. \u003ccite>(Courtesy of Cocobreeze)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, the very existence of Bay Area African Restaurant Week is a testament to how much more mainstream exposure the cuisines of the African diaspora have achieved over the past several years. An event of this scale would have been almost inconceivable in the Bay Area even a decade ago, when very few of these cuisines had received much local recognition or coverage outside of the immigrant communities themselves.\u003c/p>\n\u003cp>Tijaniqudus says that as much as she has always loved sharing her own Nigerian culture and food, she hopes this restaurant week will help take the Bay Area’s African food scene to the next level.\u003c/p>\n\u003cp>“People know jollof, jollof, jollof,” she says. “We want people to taste all of the African foods.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bay Area African Restaurant Week will run from Sept. 12–22. An updated (and growing) list of participating restaurants is available on the \u003c/i>\u003ca href=\"https://africanrestaurantweek.com/bayarea/\">\u003ci>African Restaurant Week website\u003c/i>\u003c/a>\u003ci>. The \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/kick-off-bay-area-african-restaurant-week-2024-tickets-1004733172967?aff=oddtdtcreator\">\u003ci>kickoff party\u003c/i>\u003c/a>\u003ci> will be held on Friday, Sept. 13 from 6–10 p.m. at Parliament (811 Washington St., Oakland). The \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/bay-area-african-restaurant-week-festival-2024-tickets-944469241927?aff=oddtdtcreator\">\u003ci>closing festival\u003c/i>\u003c/a>\u003ci> at For the Culture (701 Clay St., Oakland) will be held on Sunday, Sept. 22 from noon–7 p.m. Tickets for both events are currently free when reserved in advance; food and beverages will be sold a la carte.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview",
"title": "This Hong Kong-Inspired Hot Spot Abounds With Cantonese Soul",
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"headTitle": "This Hong Kong-Inspired Hot Spot Abounds With Cantonese Soul | KQED",
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"content": "\u003cp>[dropcap]I[/dropcap]’ve never actually been to Hong Kong. How fortunate, then, that a multiverse portal to a 1990s Cantopop-themed iteration of the island city has ripped through the Bay Area’s space-time continuum.\u003c/p>\n\u003cp>On a hilly, jam-packed street in San Francisco’s Chinatown, Four Kings beckons. Led by chefs Franky Ho and Mike Long and their partners Lucy Li and Millie Boonkokua, the five-month-old restaurant is where the past, present and future of San Franciscan Cantonese food abounds.\u003c/p>\n\u003cp>Nightly, not one but \u003ci>two\u003c/i> queues of curious locals overflow down opposite ends of the tiny block. Once seated inside, you’ll quickly surrender to the temptations of the casually upscale hot spot’s culinary éclat and abundance.\u003c/p>\n\u003cp>This is where you go when you want to feast on HK favorites — saucy pork chop rice, succulent black pepper steak and fusion offerings like mapo spaghetti or XO escargot — while industrial kitchen appliances hum around you, longtime friends chatter nearby and the immortal Wong Ka Kui croons over the speakers. If you’re savvy, you’ll enjoy a glass of monkey-picked oolong tea, a boozy Chinese almond milk highball or a crisp Taiwanese lager brewed with discarded bread crusts while observing the bustling energy from an intimately tight spot at the counter.\u003c/p>\n\u003cfigure id=\"attachment_13961953\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961953\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The pork chop rice with tomato egg — Four Kings’ take on a classic Hong Kong cha chaan teng–style dish. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And just when you’ve finally begun to settle in and appreciate the restaurant’s funkier elements (unframed posters of Cantopop celebrities, golden maneki-neko playfully waving their paws, a kitschy array of knickknacks bathed in neon-lit perfection), a plate of fried squab arrives to recenter your attention.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That squab is the headlining draw at Four Kings, and, like the rest of the menu here, it’s both an ode to and a deviation from traditional Cantonese fare. The malt-sugar-brushed bird comes with its claws and beak intact, and you’ll need to properly angle it with your hands to get a piece of thigh — the best part, I’m told.\u003c/p>\n\u003cfigure id=\"attachment_13961950\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Salted egg squash croquettes. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having grown up in Chinatown after immigrating from China, Ho is serving heat in the neighborhood where he was raised by his grandmother and mother, who still regularly drops off homemade soup at the restaurant in the mornings. While working as a chef at Mister Jiu’s, he struck up a friendship with Long, who brings his Los Angeles flare and memories of living in Hong Kong to Four Kings, which the duo started as a pop-up last year. With Li running the business end and Boonkokua greeting guests as the hostess, the team of four has overtaken San Francisco’s dining scene like a monsoon.\u003c/p>\n\u003cp>Built on a shared sense of childhood nostalgia, migratory friendships and the comfort of home away from home, Four Kings has an anima — a deep soulfulness — that can only be unlocked after living abroad, after tasting a homeland. It’s hot mustard jellyfish salad and sweet red bean shaved ice for the soul.\u003c/p>\n\u003cp>Four Kings isn’t the traditional dining experience you might encounter in the historic center of Chinatown. Instead, it’s like being inside the culinary fever dream of first-generation Cantonese millennials — where plates of sensory-overloading goodness keep piling up in front of you, and where you’re lavished with attention as the royal guest of honor.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cfigure id=\"attachment_13961956\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961956\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A full house of customers. Since opening in the spring of 2024, Four Kings has been one of San Francisco’s buzziest restaurants. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: Cantopop music is a major element at Four Kings. How did you get into that genre and how does it fit with your concept? Also, any Cantopop recommendations?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike Long:\u003c/b> Cantopop is huge for Cantonese kids. Our parents play it all the time on TVB — that’s the channel for Cantonese stuff. Beyond is my favorite group.\u003c/p>\n\u003cp>\u003cb>Lucy Li: \u003c/b>Our name, Four Kings, references the Four Heavenly Kings, which is a specific group of Cantopop stars from the ’90s. They’re not an actual group, but they were dubbed as the four. It’s like Britney or Christina, but this is for four men in Cantopop [Jacky Cheung, Andy Lau, Leon Lai and Aaron Kwok]. Out of those four, I like Jacky Cheung’s music the best.\u003c/p>\n\u003cp>When we used to all hang out before we worked together, we would always listen to a Chinese playlist, and then we just kept adding to it. So that’s what started it. We were like, oh, we should just play this at our future restaurant because we like it so much.\u003c/p>\n\u003cp>\u003cb>Millie Boonkokua::\u003c/b> We have \u003ca href=\"https://open.spotify.com/playlist/7m5GmSTmYNqJ0VpZFyPG6A?si=c8282f11eef64212&nd=1&dlsi=d4a6f3ea1bdf4a88\">a Cantopop playlist\u003c/a> that we’re happy to share with customers if they ask about it at the restaurant.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/7m5GmSTmYNqJ0VpZFyPG6A?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>How are you all feeling a few months into your successful opening? You entered this endeavor as friends and life partners, so I’m sure there have been plenty of highlights and struggles in running your first food business in San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The struggle has always been there, and it’s probably going to keep going, but the reward has definitely been amazing. We spent a lot of time in our careers working for other people, and Franky and I transitioned from fine dining to where we’re at now. That has always been a goal of ours, to open a more low-key, casual, approachable spot. But the whole journey has been really good. It really helps to have this team right here: Lucy, Millie, Franky. Each one of us brings a different strength to this team. Without it, this isn’t doable. It’s a lot easier to do it together.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> It might look like we have a big team from the outside, but it’s really just the four of us. I’m doing press and accounting. I have no PR training. Millie is doing everything. She’s making drinks and serving. Mike and Franky are in the kitchen. Mike \u003ca href=\"https://www.itsfourkings.com/menu\">designed our menu\u003c/a>. And we love our staff. They’re amazing, and we can’t do this without them.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> Yes, I agree. [Group laughs].\u003c/p>\n\u003cp>\u003cb>Millie: \u003c/b>I just want to say, as the person who does the hosting and works the front every day, I just feel overwhelmed with joy. I get to be the one who physically opens our door every night, and sometimes there are 40 people or more waiting outside. It really is just a feeling of joy.\u003c/p>\n\u003cfigure id=\"attachment_13962301\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts Reporter Alan Chazaro eats the hot mustard jellyfish salad. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When I visited, I could definitely feel that vibe of deep friendship and teamwork. You all seem to be doing multiple things at once.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The big ethos of our restaurant is that no one person is doing just one specific task. We want our kitchen to kind of operate in a way where each person gets each other’s back and everyone’s able to flow into helping one another out. A lot of traditional restaurants have a disconnect between front and back of the house. But for us, in a way, we’re like, hey, they’re a little busy right now. We’re going to help run food. And that’s kind of also what we want to encourage, that engagement with our guests and being able to drop off some food, check in on everyone.\u003c/p>\n\u003cp>\u003cb>What did you all learn from running a pop-up together?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> Our pop-up was extremely busy. There were long lines and we would run out of food. We were very short-staffed.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> It was just the four of us [laughs].\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>Yeah, and the dishwasher had to be downstairs. So with running up and down the stairs to do that on top of cooking and serving, it was pretty rough. We were a little…\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> Very slammed. But the reception, seeing people line up, was a good indicator of like, okay, maybe we’re doing something right. And then seeing continued interest only further confirmed that. That energy we had during the pop-up never went away. It just kept increasing.\u003c/p>\n\u003cp>\u003cb>I love pop-ups. A lot can be learned and creatively developed at that stage.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>With our pop-up, we had this idea of doing a Cantonese izakaya–style concept. But I think initially, it was a hard image for a lot of people to think about. But by doing our pop-up slowly, people began to recognize what we were trying to do. And it’s the same for ourselves, too, right? It allows us to start actually seeing what we had planned.\u003c/p>\n\u003cp>Up until now, even with the brick-and-mortar, we are still trying to realize that goal. It wasn’t until our opening night and seeing guests here that it really felt like we hit it. That’s when we felt like, okay, this is the spot where we want to be. A lot of energy and people just having a good time in a casual neighborhood spot. Sharing small-plate foods, enjoying everything. I think it’s through the pop-up phase that we were able to learn all that.\u003c/p>\n\u003cfigure id=\"attachment_13961955\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts Reporter Alan Chazaro waits in line outside the Chinatown restaurant with Four Kings co-owner Lucy Li. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you’re doing it all in San Francisco’s Chinatown, the neighborhood where Franky grew up. How does it feel being there and what’s your relationship with this community? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> It’s been nice coming back and having a restaurant where [my family and I] first immigrated to [from Guangdong province of China]. We really like the neighborhood. We try to support a lot of the local producers and the produce people. We get a lot of our live seafood from Chinatown, and our noodles are all made in Chinatown. We weren’t specifically looking to be in Chinatown, but we just somehow ended up in the perfect space.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13961696,arts_13950866,arts_13924997']\u003c/span>Mike: \u003c/b>Our building used to be an old shrimp company. When our landlord took over the space years ago, his wife wanted to build a Kumon. The space downstairs became a restaurant prior to us taking over. I definitely feel very honored to be in Chinatown. Being in this space, you see more and more of the culture. Just walking from the parking lot [beneath Portsmouth Square] to the restaurant, you see all the grandmas and grandpas playing chess and cards in the park. It’s dope to see everyday.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> It’s a vibrant community.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> Yeah. It gives you glimpses of the vibes of being in Hong Kong. Especially if you go down Stockton Street. When I think about Hong Kong, it’s walking down crowded streets. It’s hot, it’s humid. And then you have AC blasting from the storefronts, and they’re just selling random knickknacks. Sometimes when you walk down Chinatown in San Francisco, you hit those same feelings.\u003c/p>\n\u003cp>\u003cb>Have you been back to Hong Kong recently? \u003c/b>\u003ca href=\"https://video.kqed.org/video/crackdown-1710973659/\">\u003cb>The government has implemented new national security laws\u003c/b>\u003c/a>\u003cb>. What’s the political climate there right now?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> Lucy and I actually went [a year ago]. Politics isn’t necessarily what you see on the streets. It doesn’t really affect tourism, doesn’t affect visitors. But you do see it in the families. like for me and my relatives. There’s a divide between people who are pro-China and people who are in support of the youth movements for liberation and democracy. So you definitely see the tension within families, but not necessarily out in the streets.\u003c/p>\n\u003cp>\u003cb>Do you all have any go-to spots in Chinatown or nearby? How is being here a source of culinary inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> We go out in Chinatown all the time. Every Monday night after service, after a long week, we take our staff to eat dinner at like 2 a.m., and the only spot that’s open, which happens, in our opinion, to be the best place in Chinatown is \u003ca href=\"https://maps.app.goo.gl/Q3TFUs2W6LRwHMQS6\">Taishan Cuisine\u003c/a> on Broadway. We also go to Hon’s Wun-Tun around the corner. They have two locations. But yeah, we definitely eat out in Chinatown for sure.\u003c/p>\n\u003cfigure id=\"attachment_13961957\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Line cook Brenda Lau plates a dessert. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Have other chefs or business owners in the area stopped by since you’ve moved in?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Lucy: \u003c/b>One of our big inspirations in the Bay Area is actually \u003ca href=\"https://sf.eater.com/2022/6/8/23160058/chome-izakaya-san-francisco-mission\">Chome\u003c/a>. They’re a Japanese izakaya [in the Mission], and we’ve been there plenty. They actually came to eat at Four Kings since we opened, and it was really cute. We love Chome.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> R & G Lounge has stopped by. They’re right near to us.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> Mow Lee [Shing Kee & Company]. They’re very established and do Chinese charcuterie plates just up the street. The owner’s son has eaten here. There has been a lot of support in general.\u003c/p>\n\u003cp>\u003cb>Franky, you’ve been in Chinatown the longest. How has the area changed over time?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky: \u003c/b>It changed a lot for a while, but I feel like it’s back to where it was when [my family and I] first immigrated here. We’re getting a lot more people again, and all the vendors are busy, the streets are busy. I feel like a couple of years ago it was pretty dead. And a lot of restaurants and businesses were closing, but it seems like it’s back to where it was from what I remember. I see a lot of the younger generations coming back to hang out in Chinatown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.itsfourkings.com/about\">\u003cb>Your amazing website\u003c/b>\u003c/a>\u003cb> lists Franky as being better than “a walking encyclopedia of Chinese food knowledge.” So I humbly ask, what defines Cantonese food for you, Franky?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> There’s a few descriptions and explanations for Cantonese food. In China, Cantonese food is pure food. They don’t add a lot of seasoning. Everything is fresh. That’s why many things are steamed or blanched. But when you move towards Hong Kong or Macau, Cantonese food becomes fusion food. A mixture of French cuisine. British influences. It can be more flavorful.\u003c/p>\n\u003cp>\u003cb>What dish do you serve at Four Kings that most embodies your version of Cantonese food?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The pork chop rice. The inspiration for ours comes from cha chaan teng, which are the Hong Kong-style cafes we go to. One of our favorite orders that we get there is this big pork chop on either rice or spaghetti. And that’s kind of our take on it for our restaurant. We really needed to be able to bring something that’s nostalgic. It hits home for us and for a lot of young Cantonese kids, too.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> The dish also takes inspiration from Japanese katsudon.\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>Yeah, so we bread it with panko and deep-fry our pork chops after we brine it for a few days. And then we serve it with a tomato egg slurry versus the traditional sauce.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> I also really like our take on a Hong Kong version of a Sichuan fish dish, which is fermented mustard greens and fried fish. I guess we do a San Francisco version of it. And we add butter, which is from the French influence.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The fried squab is also an easy answer.\u003c/p>\n\u003cfigure id=\"attachment_13962300\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fried squab hanging in the kitchen. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>For those who don’t know, what exactly is squab, and why isn’t it more commonly served in the U.S.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> I feel like a lot of people don’t really eat squab because they’re pigeons. But a good amount of fine dining restaurants use them.\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>There aren’t any farms for squab. So the general price for it is pretty expensive. And I guess for most people to get a smaller bird for that price, it’s not ideal. Hence, it’s a harder protein to sell at a restaurant because it always comes with a higher price tag.\u003c/p>\n\u003cp>\u003cb>Lucy: \u003c/b>Franky, you have a personal connection to squab.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> Yeah, so in my hometown in China, we’re famous for our squab. Our dialect is squab, or “squab speak” in Chinese. Most banquets will serve one fried squab per person. We wanted to bring that here. We also really want people to eat it with their hands, to just devour it.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The squab is ideal for our restaurant concept because we want to serve smaller plates for our size [the building is narrow]. It’s my favorite course from a Cantonese banquet. All the kids always fight for the squab.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Four Kings (710 Commercial St., San Francisco) is open Thurs. through Mon. from 6 to 11 p.m. \u003c/i>\u003ca href=\"https://www.opentable.com/restref/client/?restref=1329550&lang=en-US&ot_source=Restaurant%20website&corrid=ba87a81d-b5c9-4732-9555-dbc3fd2783f1\">\u003ci>Reservations\u003c/i>\u003c/a>\u003ci> are recommended up to three weeks in advance; walk-in counter seating is available on a limited basis. Fried squab is offered in small quantities on a first-come, first-served basis.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>’ve never actually been to Hong Kong. How fortunate, then, that a multiverse portal to a 1990s Cantopop-themed iteration of the island city has ripped through the Bay Area’s space-time continuum.\u003c/p>\n\u003cp>On a hilly, jam-packed street in San Francisco’s Chinatown, Four Kings beckons. Led by chefs Franky Ho and Mike Long and their partners Lucy Li and Millie Boonkokua, the five-month-old restaurant is where the past, present and future of San Franciscan Cantonese food abounds.\u003c/p>\n\u003cp>Nightly, not one but \u003ci>two\u003c/i> queues of curious locals overflow down opposite ends of the tiny block. Once seated inside, you’ll quickly surrender to the temptations of the casually upscale hot spot’s culinary éclat and abundance.\u003c/p>\n\u003cp>This is where you go when you want to feast on HK favorites — saucy pork chop rice, succulent black pepper steak and fusion offerings like mapo spaghetti or XO escargot — while industrial kitchen appliances hum around you, longtime friends chatter nearby and the immortal Wong Ka Kui croons over the speakers. If you’re savvy, you’ll enjoy a glass of monkey-picked oolong tea, a boozy Chinese almond milk highball or a crisp Taiwanese lager brewed with discarded bread crusts while observing the bustling energy from an intimately tight spot at the counter.\u003c/p>\n\u003cfigure id=\"attachment_13961953\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961953\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-012-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The pork chop rice with tomato egg — Four Kings’ take on a classic Hong Kong cha chaan teng–style dish. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And just when you’ve finally begun to settle in and appreciate the restaurant’s funkier elements (unframed posters of Cantopop celebrities, golden maneki-neko playfully waving their paws, a kitschy array of knickknacks bathed in neon-lit perfection), a plate of fried squab arrives to recenter your attention.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That squab is the headlining draw at Four Kings, and, like the rest of the menu here, it’s both an ode to and a deviation from traditional Cantonese fare. The malt-sugar-brushed bird comes with its claws and beak intact, and you’ll need to properly angle it with your hands to get a piece of thigh — the best part, I’m told.\u003c/p>\n\u003cfigure id=\"attachment_13961950\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-001-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Salted egg squash croquettes. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having grown up in Chinatown after immigrating from China, Ho is serving heat in the neighborhood where he was raised by his grandmother and mother, who still regularly drops off homemade soup at the restaurant in the mornings. While working as a chef at Mister Jiu’s, he struck up a friendship with Long, who brings his Los Angeles flare and memories of living in Hong Kong to Four Kings, which the duo started as a pop-up last year. With Li running the business end and Boonkokua greeting guests as the hostess, the team of four has overtaken San Francisco’s dining scene like a monsoon.\u003c/p>\n\u003cp>Built on a shared sense of childhood nostalgia, migratory friendships and the comfort of home away from home, Four Kings has an anima — a deep soulfulness — that can only be unlocked after living abroad, after tasting a homeland. It’s hot mustard jellyfish salad and sweet red bean shaved ice for the soul.\u003c/p>\n\u003cp>Four Kings isn’t the traditional dining experience you might encounter in the historic center of Chinatown. Instead, it’s like being inside the culinary fever dream of first-generation Cantonese millennials — where plates of sensory-overloading goodness keep piling up in front of you, and where you’re lavished with attention as the royal guest of honor.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cfigure id=\"attachment_13961956\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961956\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-022-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A full house of customers. Since opening in the spring of 2024, Four Kings has been one of San Francisco’s buzziest restaurants. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: Cantopop music is a major element at Four Kings. How did you get into that genre and how does it fit with your concept? Also, any Cantopop recommendations?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike Long:\u003c/b> Cantopop is huge for Cantonese kids. Our parents play it all the time on TVB — that’s the channel for Cantonese stuff. Beyond is my favorite group.\u003c/p>\n\u003cp>\u003cb>Lucy Li: \u003c/b>Our name, Four Kings, references the Four Heavenly Kings, which is a specific group of Cantopop stars from the ’90s. They’re not an actual group, but they were dubbed as the four. It’s like Britney or Christina, but this is for four men in Cantopop [Jacky Cheung, Andy Lau, Leon Lai and Aaron Kwok]. Out of those four, I like Jacky Cheung’s music the best.\u003c/p>\n\u003cp>When we used to all hang out before we worked together, we would always listen to a Chinese playlist, and then we just kept adding to it. So that’s what started it. We were like, oh, we should just play this at our future restaurant because we like it so much.\u003c/p>\n\u003cp>\u003cb>Millie Boonkokua::\u003c/b> We have \u003ca href=\"https://open.spotify.com/playlist/7m5GmSTmYNqJ0VpZFyPG6A?si=c8282f11eef64212&nd=1&dlsi=d4a6f3ea1bdf4a88\">a Cantopop playlist\u003c/a> that we’re happy to share with customers if they ask about it at the restaurant.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/7m5GmSTmYNqJ0VpZFyPG6A?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>How are you all feeling a few months into your successful opening? You entered this endeavor as friends and life partners, so I’m sure there have been plenty of highlights and struggles in running your first food business in San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The struggle has always been there, and it’s probably going to keep going, but the reward has definitely been amazing. We spent a lot of time in our careers working for other people, and Franky and I transitioned from fine dining to where we’re at now. That has always been a goal of ours, to open a more low-key, casual, approachable spot. But the whole journey has been really good. It really helps to have this team right here: Lucy, Millie, Franky. Each one of us brings a different strength to this team. Without it, this isn’t doable. It’s a lot easier to do it together.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> It might look like we have a big team from the outside, but it’s really just the four of us. I’m doing press and accounting. I have no PR training. Millie is doing everything. She’s making drinks and serving. Mike and Franky are in the kitchen. Mike \u003ca href=\"https://www.itsfourkings.com/menu\">designed our menu\u003c/a>. And we love our staff. They’re amazing, and we can’t do this without them.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> Yes, I agree. [Group laughs].\u003c/p>\n\u003cp>\u003cb>Millie: \u003c/b>I just want to say, as the person who does the hosting and works the front every day, I just feel overwhelmed with joy. I get to be the one who physically opens our door every night, and sometimes there are 40 people or more waiting outside. It really is just a feeling of joy.\u003c/p>\n\u003cfigure id=\"attachment_13962301\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-003-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts Reporter Alan Chazaro eats the hot mustard jellyfish salad. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When I visited, I could definitely feel that vibe of deep friendship and teamwork. You all seem to be doing multiple things at once.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The big ethos of our restaurant is that no one person is doing just one specific task. We want our kitchen to kind of operate in a way where each person gets each other’s back and everyone’s able to flow into helping one another out. A lot of traditional restaurants have a disconnect between front and back of the house. But for us, in a way, we’re like, hey, they’re a little busy right now. We’re going to help run food. And that’s kind of also what we want to encourage, that engagement with our guests and being able to drop off some food, check in on everyone.\u003c/p>\n\u003cp>\u003cb>What did you all learn from running a pop-up together?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> Our pop-up was extremely busy. There were long lines and we would run out of food. We were very short-staffed.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> It was just the four of us [laughs].\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>Yeah, and the dishwasher had to be downstairs. So with running up and down the stairs to do that on top of cooking and serving, it was pretty rough. We were a little…\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> Very slammed. But the reception, seeing people line up, was a good indicator of like, okay, maybe we’re doing something right. And then seeing continued interest only further confirmed that. That energy we had during the pop-up never went away. It just kept increasing.\u003c/p>\n\u003cp>\u003cb>I love pop-ups. A lot can be learned and creatively developed at that stage.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>With our pop-up, we had this idea of doing a Cantonese izakaya–style concept. But I think initially, it was a hard image for a lot of people to think about. But by doing our pop-up slowly, people began to recognize what we were trying to do. And it’s the same for ourselves, too, right? It allows us to start actually seeing what we had planned.\u003c/p>\n\u003cp>Up until now, even with the brick-and-mortar, we are still trying to realize that goal. It wasn’t until our opening night and seeing guests here that it really felt like we hit it. That’s when we felt like, okay, this is the spot where we want to be. A lot of energy and people just having a good time in a casual neighborhood spot. Sharing small-plate foods, enjoying everything. I think it’s through the pop-up phase that we were able to learn all that.\u003c/p>\n\u003cfigure id=\"attachment_13961955\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-016-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts Reporter Alan Chazaro waits in line outside the Chinatown restaurant with Four Kings co-owner Lucy Li. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you’re doing it all in San Francisco’s Chinatown, the neighborhood where Franky grew up. How does it feel being there and what’s your relationship with this community? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> It’s been nice coming back and having a restaurant where [my family and I] first immigrated to [from Guangdong province of China]. We really like the neighborhood. We try to support a lot of the local producers and the produce people. We get a lot of our live seafood from Chinatown, and our noodles are all made in Chinatown. We weren’t specifically looking to be in Chinatown, but we just somehow ended up in the perfect space.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Mike: \u003c/b>Our building used to be an old shrimp company. When our landlord took over the space years ago, his wife wanted to build a Kumon. The space downstairs became a restaurant prior to us taking over. I definitely feel very honored to be in Chinatown. Being in this space, you see more and more of the culture. Just walking from the parking lot [beneath Portsmouth Square] to the restaurant, you see all the grandmas and grandpas playing chess and cards in the park. It’s dope to see everyday.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> It’s a vibrant community.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> Yeah. It gives you glimpses of the vibes of being in Hong Kong. Especially if you go down Stockton Street. When I think about Hong Kong, it’s walking down crowded streets. It’s hot, it’s humid. And then you have AC blasting from the storefronts, and they’re just selling random knickknacks. Sometimes when you walk down Chinatown in San Francisco, you hit those same feelings.\u003c/p>\n\u003cp>\u003cb>Have you been back to Hong Kong recently? \u003c/b>\u003ca href=\"https://video.kqed.org/video/crackdown-1710973659/\">\u003cb>The government has implemented new national security laws\u003c/b>\u003c/a>\u003cb>. What’s the political climate there right now?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> Lucy and I actually went [a year ago]. Politics isn’t necessarily what you see on the streets. It doesn’t really affect tourism, doesn’t affect visitors. But you do see it in the families. like for me and my relatives. There’s a divide between people who are pro-China and people who are in support of the youth movements for liberation and democracy. So you definitely see the tension within families, but not necessarily out in the streets.\u003c/p>\n\u003cp>\u003cb>Do you all have any go-to spots in Chinatown or nearby? How is being here a source of culinary inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> We go out in Chinatown all the time. Every Monday night after service, after a long week, we take our staff to eat dinner at like 2 a.m., and the only spot that’s open, which happens, in our opinion, to be the best place in Chinatown is \u003ca href=\"https://maps.app.goo.gl/Q3TFUs2W6LRwHMQS6\">Taishan Cuisine\u003c/a> on Broadway. We also go to Hon’s Wun-Tun around the corner. They have two locations. But yeah, we definitely eat out in Chinatown for sure.\u003c/p>\n\u003cfigure id=\"attachment_13961957\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HELLAHUNGRYFOURKINGS-JY-027-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Line cook Brenda Lau plates a dessert. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Have other chefs or business owners in the area stopped by since you’ve moved in?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Lucy: \u003c/b>One of our big inspirations in the Bay Area is actually \u003ca href=\"https://sf.eater.com/2022/6/8/23160058/chome-izakaya-san-francisco-mission\">Chome\u003c/a>. They’re a Japanese izakaya [in the Mission], and we’ve been there plenty. They actually came to eat at Four Kings since we opened, and it was really cute. We love Chome.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> R & G Lounge has stopped by. They’re right near to us.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> Mow Lee [Shing Kee & Company]. They’re very established and do Chinese charcuterie plates just up the street. The owner’s son has eaten here. There has been a lot of support in general.\u003c/p>\n\u003cp>\u003cb>Franky, you’ve been in Chinatown the longest. How has the area changed over time?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky: \u003c/b>It changed a lot for a while, but I feel like it’s back to where it was when [my family and I] first immigrated here. We’re getting a lot more people again, and all the vendors are busy, the streets are busy. I feel like a couple of years ago it was pretty dead. And a lot of restaurants and businesses were closing, but it seems like it’s back to where it was from what I remember. I see a lot of the younger generations coming back to hang out in Chinatown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.itsfourkings.com/about\">\u003cb>Your amazing website\u003c/b>\u003c/a>\u003cb> lists Franky as being better than “a walking encyclopedia of Chinese food knowledge.” So I humbly ask, what defines Cantonese food for you, Franky?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> There’s a few descriptions and explanations for Cantonese food. In China, Cantonese food is pure food. They don’t add a lot of seasoning. Everything is fresh. That’s why many things are steamed or blanched. But when you move towards Hong Kong or Macau, Cantonese food becomes fusion food. A mixture of French cuisine. British influences. It can be more flavorful.\u003c/p>\n\u003cp>\u003cb>What dish do you serve at Four Kings that most embodies your version of Cantonese food?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The pork chop rice. The inspiration for ours comes from cha chaan teng, which are the Hong Kong-style cafes we go to. One of our favorite orders that we get there is this big pork chop on either rice or spaghetti. And that’s kind of our take on it for our restaurant. We really needed to be able to bring something that’s nostalgic. It hits home for us and for a lot of young Cantonese kids, too.\u003c/p>\n\u003cp>\u003cb>Lucy:\u003c/b> The dish also takes inspiration from Japanese katsudon.\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>Yeah, so we bread it with panko and deep-fry our pork chops after we brine it for a few days. And then we serve it with a tomato egg slurry versus the traditional sauce.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> I also really like our take on a Hong Kong version of a Sichuan fish dish, which is fermented mustard greens and fried fish. I guess we do a San Francisco version of it. And we add butter, which is from the French influence.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The fried squab is also an easy answer.\u003c/p>\n\u003cfigure id=\"attachment_13962300\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729-HellaHungryFourKings-JY-019-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fried squab hanging in the kitchen. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>For those who don’t know, what exactly is squab, and why isn’t it more commonly served in the U.S.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> I feel like a lot of people don’t really eat squab because they’re pigeons. But a good amount of fine dining restaurants use them.\u003c/p>\n\u003cp>\u003cb>Mike: \u003c/b>There aren’t any farms for squab. So the general price for it is pretty expensive. And I guess for most people to get a smaller bird for that price, it’s not ideal. Hence, it’s a harder protein to sell at a restaurant because it always comes with a higher price tag.\u003c/p>\n\u003cp>\u003cb>Lucy: \u003c/b>Franky, you have a personal connection to squab.\u003c/p>\n\u003cp>\u003cb>Franky:\u003c/b> Yeah, so in my hometown in China, we’re famous for our squab. Our dialect is squab, or “squab speak” in Chinese. Most banquets will serve one fried squab per person. We wanted to bring that here. We also really want people to eat it with their hands, to just devour it.\u003c/p>\n\u003cp>\u003cb>Mike:\u003c/b> The squab is ideal for our restaurant concept because we want to serve smaller plates for our size [the building is narrow]. It’s my favorite course from a Cantonese banquet. All the kids always fight for the squab.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Four Kings (710 Commercial St., San Francisco) is open Thurs. through Mon. from 6 to 11 p.m. \u003c/i>\u003ca href=\"https://www.opentable.com/restref/client/?restref=1329550&lang=en-US&ot_source=Restaurant%20website&corrid=ba87a81d-b5c9-4732-9555-dbc3fd2783f1\">\u003ci>Reservations\u003c/i>\u003c/a>\u003ci> are recommended up to three weeks in advance; walk-in counter seating is available on a limited basis. Fried squab is offered in small quantities on a first-come, first-served basis.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Art Museum to Move Into Building Co-Owned by Trump",
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"content": "\u003cp>The \u003ca href=\"https://www.icasf.org/\">Institute of Contemporary Art San Francisco\u003c/a> announced today that it will soon move from its current location in the Dogpatch neighborhood to 345 Montgomery St. in the Financial District, a building co-owned by Vornado Realty Trust and the Trump Organization.\u003c/p>\n\u003cp>The property is anchored by a 52-story tower at 555 California St., the former flagship building for Bank of America, which the Trump Organization \u003ca href=\"https://www.trump.com/commercial-real-estate-portfolio/555-california-street\">describes in its list of holdings\u003c/a> as an “iconic business address towering over San Francisco.” The Trump Organization \u003ca href=\"https://www.sfchronicle.com/realestate/article/trump-sell-s-f-tower-19363646.php\">reportedly holds a 30% ownership share\u003c/a> of the property.\u003c/p>\n\u003cp>Asked about former president Donald Trump’s stake in their future home, ICA founding director Ali Gass told KQED that “ICA San Francisco’s values are not at all aligned with Trump’s values.”\u003c/p>\n\u003cp>Gass added that fact would be made clear through the artists and programming the ICA supports in the new location, and stressed that the nonprofit has dealt exclusively with Vornado. “They have been extraordinarily generous and clearly believe deeply in the impact of a nonprofit arts organization,” she said.\u003c/p>\n\u003cp>The ICA’s future home, “\u003ca href=\"https://www.cbre.com/properties/properties-for-lease/office/details/US-SMPL-54744/the-cube-345-montgomery-street-san-francisco-ca-94104\">The Cube\u003c/a>,” was once a banking hall; the dramatic stone, glass and metal building was designed in 1971 by Skidmore, Owings & Merrill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The non-collecting institution will \u003ca href=\"https://sfstandard.com/2024/08/30/institute-of-contemporary-art-san-francisco-relocates-downtown/\">reopen on two floors of the five-story, 73,000-square-foot building\u003c/a> on Oct. 25, more than doubling its current gallery space. And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.\u003c/p>\n\u003cp>Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”\u003c/p>\n\u003cp>While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes \u003ca href=\"https://www.vno.com/office/property/1290-avenue-of-the-americas/3311697/landing\">another co-owned building\u003c/a> in Manhattan. In 2021, \u003ca href=\"https://www.bloomberg.com/news/articles/2021-04-30/trump-scores-617-million-of-cash-with-vornado-from-tower-bonds\">Bloomberg reported\u003c/a> that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.\u003c/p>\n\u003cp>Largely funded by \u003ca href=\"https://www.economist.com/culture/2022/10/19/silicon-valleys-plutocrats-are-shaking-up-culture-in-the-region\">Silicon Valley tech money\u003c/a>, ICA San Francisco set forth a bold mission to promote “\u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">constant reinvention in the realm of contemporary art\u003c/a>” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">pop-ups\u003c/a> and educational programs.\u003c/p>\n\u003cp>During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One \u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">installation featured hand-sewn banners\u003c/a> inspired by traditional tattoo designs; another asserted \u003ca href=\"https://www.kqed.org/arts/13925416/resting-our-eyes-ica-sf-review-black-women-leisure\">Black women’s right to rest and leisure\u003c/a>. The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “\u003ca href=\"https://nymag.com/urbanist/inside-the-dogpatch-san-franciscos-artsiest-neighborhood.html\">artsiest neighborhood\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ICA will launch its new Financial District space with three openings: \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions\">The Poetics of Dimensions\u003c/a>\u003c/em>, curated by Larry Ossei-Mensah; \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/15-riverbend\">Maryam Yousif: Riverbend\u003c/a>\u003c/em>, a ceramics exhibition that references \u003ca href=\"https://www.kqed.org/arts/13963016/visual-art-fall-guide-2024-bay-area\">Mesopotamian and Assyrian mythology and Iraqi pop culture\u003c/a>; and a solo presentation by New York artist \u003ca href=\"https://www.kathleen-ryan.com/\">Kathleen Ryan\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.icasf.org/\">Institute of Contemporary Art San Francisco\u003c/a> announced today that it will soon move from its current location in the Dogpatch neighborhood to 345 Montgomery St. in the Financial District, a building co-owned by Vornado Realty Trust and the Trump Organization.\u003c/p>\n\u003cp>The property is anchored by a 52-story tower at 555 California St., the former flagship building for Bank of America, which the Trump Organization \u003ca href=\"https://www.trump.com/commercial-real-estate-portfolio/555-california-street\">describes in its list of holdings\u003c/a> as an “iconic business address towering over San Francisco.” The Trump Organization \u003ca href=\"https://www.sfchronicle.com/realestate/article/trump-sell-s-f-tower-19363646.php\">reportedly holds a 30% ownership share\u003c/a> of the property.\u003c/p>\n\u003cp>Asked about former president Donald Trump’s stake in their future home, ICA founding director Ali Gass told KQED that “ICA San Francisco’s values are not at all aligned with Trump’s values.”\u003c/p>\n\u003cp>Gass added that fact would be made clear through the artists and programming the ICA supports in the new location, and stressed that the nonprofit has dealt exclusively with Vornado. “They have been extraordinarily generous and clearly believe deeply in the impact of a nonprofit arts organization,” she said.\u003c/p>\n\u003cp>The ICA’s future home, “\u003ca href=\"https://www.cbre.com/properties/properties-for-lease/office/details/US-SMPL-54744/the-cube-345-montgomery-street-san-francisco-ca-94104\">The Cube\u003c/a>,” was once a banking hall; the dramatic stone, glass and metal building was designed in 1971 by Skidmore, Owings & Merrill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The non-collecting institution will \u003ca href=\"https://sfstandard.com/2024/08/30/institute-of-contemporary-art-san-francisco-relocates-downtown/\">reopen on two floors of the five-story, 73,000-square-foot building\u003c/a> on Oct. 25, more than doubling its current gallery space. And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.\u003c/p>\n\u003cp>Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”\u003c/p>\n\u003cp>While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes \u003ca href=\"https://www.vno.com/office/property/1290-avenue-of-the-americas/3311697/landing\">another co-owned building\u003c/a> in Manhattan. In 2021, \u003ca href=\"https://www.bloomberg.com/news/articles/2021-04-30/trump-scores-617-million-of-cash-with-vornado-from-tower-bonds\">Bloomberg reported\u003c/a> that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.\u003c/p>\n\u003cp>Largely funded by \u003ca href=\"https://www.economist.com/culture/2022/10/19/silicon-valleys-plutocrats-are-shaking-up-culture-in-the-region\">Silicon Valley tech money\u003c/a>, ICA San Francisco set forth a bold mission to promote “\u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">constant reinvention in the realm of contemporary art\u003c/a>” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">pop-ups\u003c/a> and educational programs.\u003c/p>\n\u003cp>During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One \u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">installation featured hand-sewn banners\u003c/a> inspired by traditional tattoo designs; another asserted \u003ca href=\"https://www.kqed.org/arts/13925416/resting-our-eyes-ica-sf-review-black-women-leisure\">Black women’s right to rest and leisure\u003c/a>. The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “\u003ca href=\"https://nymag.com/urbanist/inside-the-dogpatch-san-franciscos-artsiest-neighborhood.html\">artsiest neighborhood\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ICA will launch its new Financial District space with three openings: \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions\">The Poetics of Dimensions\u003c/a>\u003c/em>, curated by Larry Ossei-Mensah; \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/15-riverbend\">Maryam Yousif: Riverbend\u003c/a>\u003c/em>, a ceramics exhibition that references \u003ca href=\"https://www.kqed.org/arts/13963016/visual-art-fall-guide-2024-bay-area\">Mesopotamian and Assyrian mythology and Iraqi pop culture\u003c/a>; and a solo presentation by New York artist \u003ca href=\"https://www.kathleen-ryan.com/\">Kathleen Ryan\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Favorite Spaghetti Shack Has a New Late-Night Menu",
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"headTitle": "San Francisco’s Favorite Spaghetti Shack Has a New Late-Night Menu | KQED",
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"content": "\u003cfigure id=\"attachment_13963442\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2.jpg\" alt=\"Illustration: Two men in a funkily decorated restaurant. They're devouring spaghetti, mozzarella balls, and a large meatball hero.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Highlights of the new late-night menu at Emmy’s Spaghetti Shack include $9 spaghetti and a spectacular meatball hero. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/emmysspaghettishack/\">Emmy’s Spaghetti Shack\u003c/a> certainly isn’t the only spot in San Francisco serving an old-school Italian American menu. But it might be the only one I would describe as a punk rock red-sauce Italian dive bar. With its rainbow disco lights and weird chandeliers, its pinball machines and shrine of framed Dolly Parton photographs, the restaurant has the eclectic, lived-in quality of a place where someone — say, a fun aunt — has collected all the things they love.\u003c/p>\n\u003cp>For more than 20 years, founder (and namesake) Emmy Kaplan \u003ci>was \u003c/i>that “fun aunt,” and under her warm-hearted watch, the restaurant played great music every night, sold probably a million plates of spaghetti and meatballs, and cemented its reputation as a quintessentially \u003ca href=\"https://www.sfgate.com/food/article/sf-emmys-spaghetti-shack-17632474.php\">fun and casual neighborhood joint\u003c/a> on the edge of the Mission and Bernal Heights. A legit San Francisco classic.\u003c/p>\n\u003cp>Then, a few weeks ago, Kaplan \u003ca href=\"https://brokeassstuart.com/2024/08/02/emmys-spaghetti-shack-is-being-sold-and-this-is-good-news/\">announced that she had sold Emmy’s\u003c/a> to Mike Irish, the restaurant’s bar manager for the past several years. To everyone’s great relief, the upshot of that sale appears to be that precisely nothing will change. Well, almost nothing. The menu has a few crowd-pleasing additions (lasagna! shrimp cocktail!). And, at least on Fridays and Saturdays, the restaurant now stays open until midnight — a throwback to the early-2000s incarnation of the spaghetti shack, when it was one of the only casual sit-down restaurants in the neighborhood that was open late.\u003c/p>\n\u003cp>More to the point: On those nights, starting at 9:30, the restaurant serves a special late-night menu, which includes a $9 plate of spaghetti and a meatball parm hero that — spoiler alert — immediately ranks among San Francisco’s most appealing late-night dishes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is what brought us into Emmy’s sparkly, tinsel- and string light–bedecked dining room on a recent Friday night. The restaurant was only one or two weeks into its new late-night offerings, but the prospect of good red sauce Italian after 10 p.m. had a gravitational pull too heavy for us to resist.\u003c/p>\n\u003cp>Maybe the most impressive thing about Emmy’s is how the restaurant has been a master of capturing so many different demographics. We arrived a few minutes before it shifted over to the late-night menu, and the dining room was a multicultural mix of all different types of parties: young couples, older couples, families with exceptionally hungry teenagers, and swagged-out college kids pregaming on their way to the club.\u003c/p>\n\u003cp>Emmy’s is known as one of the city’s most family-friendly restaurants, with a longstanding “kids eat free” deal on Tuesdays. It’s also an enormously popular date-night spot — and just doubled down by \u003ca href=\"https://www.sfgate.com/food/article/offbeat-sf-restaurant-best-deal-19626297.php\">launching a $60 “Monday Is for Lovers” prix-fixe for two\u003c/a> that comes with a bottle of wine. In many ways, then, the new late-night hours are just the latest extension of the restaurant’s ongoing effort to provide things the community really wants — which, in this case, happens to be hearty red sauce Italian at midnight.\u003c/p>\n\u003cfigure id=\"attachment_13963444\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys.jpg\" alt=\"Illustration: red and purple front facade of a restaurant at nighttime. The sign reads, "Emmy's" in cursive.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant has been open in San Francisco’s Mission Bernal neighborhood for more than 20 years. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because we arrived a little early, we were able to try the new “Cadillac lasagna” from the regular dinner menu. It was kind of a “deconstructed” version, the pasta sheets arranged in a loose pile rather than cut into a neatly layered square. But the combination of flavors — the rich vodka meat sauce, dollops of sunflower seed pesto and cool ricotta — were just as homey and nostalgic as we’d hoped.\u003c/p>\n\u003cp>As it turns out, though, it’s easy enough to cobble together a delicious meal ordering exclusively off the new late-night menu, which offers a mix of new dishes and Emmy’s classics. We started with a standard (and perfectly satisfying) version of shrimp cocktail and the crowd favorite cauliflower balls — oozy, stretchy, spherical mozzarella sticks, essentially, with bits of cauliflower mixed in for health (?) and textural interest.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13963093,arts_13961997,arts_13959808']\u003c/span>\u003c/span>While you can dine at Emmy’s at any time of night and find at least one massive plate of spaghetti and meatballs on every table, the late-night menu gives you the opportunity to order a smaller (but still not exactly petite) order of that red sauce spaghetti — for just $9, with the option to add on a meatball (or vegan meatball). It had been a number of years since I’d had a plate of Emmy’s spaghetti, but we were hooked from the first piping hot, eminently slurpable bite.\u003c/p>\n\u003cp>The showstopper is that new meatball hero, which repurposes several of the restaurant’s staple ingredients — vodka sauce, pesto, stretchy cheese and maybe the best meatballs in town — and serves them hot on a toasty sesame roll. The sandwich comes with a little squeeze bottle of Calabrian hot sauce, which you don’t really need. The real pro hack is to scoop some spaghetti into the hero so you get a bit of extra sauciness in every bite. This is it: the Platonic ideal of late-night drunk food.\u003c/p>\n\u003cp>Emmy’s hasn’t done a ton of advertising for the new late-night menu on its \u003ca href=\"https://www.instagram.com/emmysspaghettishack/\">social media\u003c/a>, and for a while it seemed like maybe we were the only ones who knew about it. But by the time we left, around 11 o’clock, they’d curtained off the front room and turned up the music, and the restaurant had once again started to fill up. The playlist shuffled from MF Doom to Bo Diddley to a plaintive country ballad, and the night owls sipped Cosmos and dug into their plates of spaghetti. And for at least one night, in this one spot, it felt like San Francisco’s late-night scene hadn’t ever died at all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://sfspaghettishack.com/\">\u003ci>Emmy’s Spaghetti Shack\u003c/i>\u003c/a>\u003ci> is open Sun.–Thu. 5–9:30 p.m. and Fri.–Sat. 5 p.m.–midnight at 3230 Mission St. in San Francisco. On Fridays and Saturdays, it serves a special late-night menu starting at 9:30 p.m.\u003c/i>\u003c/p>\n\n",
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"title": "Emmy's Spaghetti Shack Has One of SF's Best Late-Night Menus | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963442\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2.jpg\" alt=\"Illustration: Two men in a funkily decorated restaurant. They're devouring spaghetti, mozzarella balls, and a large meatball hero.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Highlights of the new late-night menu at Emmy’s Spaghetti Shack include $9 spaghetti and a spectacular meatball hero. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/emmysspaghettishack/\">Emmy’s Spaghetti Shack\u003c/a> certainly isn’t the only spot in San Francisco serving an old-school Italian American menu. But it might be the only one I would describe as a punk rock red-sauce Italian dive bar. With its rainbow disco lights and weird chandeliers, its pinball machines and shrine of framed Dolly Parton photographs, the restaurant has the eclectic, lived-in quality of a place where someone — say, a fun aunt — has collected all the things they love.\u003c/p>\n\u003cp>For more than 20 years, founder (and namesake) Emmy Kaplan \u003ci>was \u003c/i>that “fun aunt,” and under her warm-hearted watch, the restaurant played great music every night, sold probably a million plates of spaghetti and meatballs, and cemented its reputation as a quintessentially \u003ca href=\"https://www.sfgate.com/food/article/sf-emmys-spaghetti-shack-17632474.php\">fun and casual neighborhood joint\u003c/a> on the edge of the Mission and Bernal Heights. A legit San Francisco classic.\u003c/p>\n\u003cp>Then, a few weeks ago, Kaplan \u003ca href=\"https://brokeassstuart.com/2024/08/02/emmys-spaghetti-shack-is-being-sold-and-this-is-good-news/\">announced that she had sold Emmy’s\u003c/a> to Mike Irish, the restaurant’s bar manager for the past several years. To everyone’s great relief, the upshot of that sale appears to be that precisely nothing will change. Well, almost nothing. The menu has a few crowd-pleasing additions (lasagna! shrimp cocktail!). And, at least on Fridays and Saturdays, the restaurant now stays open until midnight — a throwback to the early-2000s incarnation of the spaghetti shack, when it was one of the only casual sit-down restaurants in the neighborhood that was open late.\u003c/p>\n\u003cp>More to the point: On those nights, starting at 9:30, the restaurant serves a special late-night menu, which includes a $9 plate of spaghetti and a meatball parm hero that — spoiler alert — immediately ranks among San Francisco’s most appealing late-night dishes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is what brought us into Emmy’s sparkly, tinsel- and string light–bedecked dining room on a recent Friday night. The restaurant was only one or two weeks into its new late-night offerings, but the prospect of good red sauce Italian after 10 p.m. had a gravitational pull too heavy for us to resist.\u003c/p>\n\u003cp>Maybe the most impressive thing about Emmy’s is how the restaurant has been a master of capturing so many different demographics. We arrived a few minutes before it shifted over to the late-night menu, and the dining room was a multicultural mix of all different types of parties: young couples, older couples, families with exceptionally hungry teenagers, and swagged-out college kids pregaming on their way to the club.\u003c/p>\n\u003cp>Emmy’s is known as one of the city’s most family-friendly restaurants, with a longstanding “kids eat free” deal on Tuesdays. It’s also an enormously popular date-night spot — and just doubled down by \u003ca href=\"https://www.sfgate.com/food/article/offbeat-sf-restaurant-best-deal-19626297.php\">launching a $60 “Monday Is for Lovers” prix-fixe for two\u003c/a> that comes with a bottle of wine. In many ways, then, the new late-night hours are just the latest extension of the restaurant’s ongoing effort to provide things the community really wants — which, in this case, happens to be hearty red sauce Italian at midnight.\u003c/p>\n\u003cfigure id=\"attachment_13963444\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys.jpg\" alt=\"Illustration: red and purple front facade of a restaurant at nighttime. The sign reads, "Emmy's" in cursive.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Emmys-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant has been open in San Francisco’s Mission Bernal neighborhood for more than 20 years. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because we arrived a little early, we were able to try the new “Cadillac lasagna” from the regular dinner menu. It was kind of a “deconstructed” version, the pasta sheets arranged in a loose pile rather than cut into a neatly layered square. But the combination of flavors — the rich vodka meat sauce, dollops of sunflower seed pesto and cool ricotta — were just as homey and nostalgic as we’d hoped.\u003c/p>\n\u003cp>As it turns out, though, it’s easy enough to cobble together a delicious meal ordering exclusively off the new late-night menu, which offers a mix of new dishes and Emmy’s classics. We started with a standard (and perfectly satisfying) version of shrimp cocktail and the crowd favorite cauliflower balls — oozy, stretchy, spherical mozzarella sticks, essentially, with bits of cauliflower mixed in for health (?) and textural interest.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>While you can dine at Emmy’s at any time of night and find at least one massive plate of spaghetti and meatballs on every table, the late-night menu gives you the opportunity to order a smaller (but still not exactly petite) order of that red sauce spaghetti — for just $9, with the option to add on a meatball (or vegan meatball). It had been a number of years since I’d had a plate of Emmy’s spaghetti, but we were hooked from the first piping hot, eminently slurpable bite.\u003c/p>\n\u003cp>The showstopper is that new meatball hero, which repurposes several of the restaurant’s staple ingredients — vodka sauce, pesto, stretchy cheese and maybe the best meatballs in town — and serves them hot on a toasty sesame roll. The sandwich comes with a little squeeze bottle of Calabrian hot sauce, which you don’t really need. The real pro hack is to scoop some spaghetti into the hero so you get a bit of extra sauciness in every bite. This is it: the Platonic ideal of late-night drunk food.\u003c/p>\n\u003cp>Emmy’s hasn’t done a ton of advertising for the new late-night menu on its \u003ca href=\"https://www.instagram.com/emmysspaghettishack/\">social media\u003c/a>, and for a while it seemed like maybe we were the only ones who knew about it. But by the time we left, around 11 o’clock, they’d curtained off the front room and turned up the music, and the restaurant had once again started to fill up. The playlist shuffled from MF Doom to Bo Diddley to a plaintive country ballad, and the night owls sipped Cosmos and dug into their plates of spaghetti. And for at least one night, in this one spot, it felt like San Francisco’s late-night scene hadn’t ever died at all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://sfspaghettishack.com/\">\u003ci>Emmy’s Spaghetti Shack\u003c/i>\u003c/a>\u003ci> is open Sun.–Thu. 5–9:30 p.m. and Fri.–Sat. 5 p.m.–midnight at 3230 Mission St. in San Francisco. On Fridays and Saturdays, it serves a special late-night menu starting at 9:30 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway",
"title": "Hundreds of Raymond Pettibon’s Black Flag Show Fliers Go to Auction",
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"headTitle": "Hundreds of Raymond Pettibon’s Black Flag Show Fliers Go to Auction | KQED",
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"content": "\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938024']The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The artist's confrontational, often grotesque style defined the 1980s heyday of California punk.",
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"title": "Raymond Pettibon’s Fliers and Rare Punk Items on Auction | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "fashion-outfits-photos-outside-lands-2024",
"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024",
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"content": "\u003cp>Music festivals like Outside Lands always bring out hot fits — even in Golden Gate Park’s chilly, foggy mist. This past weekend, photographer Estefany Gonzalez was on the scene at Outside Lands for photos of fans and their festival fashion.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">See photos and read about the weekend’s performances here\u003c/a>\u003c/em>\u003c/strong>. \u003c/p>\n\u003cfigure id=\"attachment_13962488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962488\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bevon Brye wears a floral ‘Midsommar’-inspired outfit at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962507\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Teagan Paris (left) and Emily Izenman kiss as they wait for Chappell Roan to take the stage at Outside Lands on Sunday, Aug. 11, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962497\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ajani Purnell (center) and Lie Burgess dance in front of the Sutro Stage as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962517\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Lopez (center) dances to “Hot To Go!” as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962430\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vyvy Nguyen (center) and friends wear matching friendship bracelets at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Grace Stephenson, Robin Nguyen and Frank Ortiz watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brian Andrews and his daughter Chloe Andrews watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962423\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Addison Overbay (center) watches The Japanese House perform from the front row of the Lands End Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric and Rose Dosier cheer as they are pronounced husband and wife at Outside Lands on Friday, Aug. 9, 2024. The Dosiers are among many couples tying the knot at this year’s festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Shirley Shao,Paula Choi, and Paul Hanna strike a pose in their space inspired outfits at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Gary Payton II poses for a portrait at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962466\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Robinson crowd surfs as Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962496\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anabelle Martin and Christian Martin dance as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962415\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13962415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Sean Ryan dons a faux-fur coat he found on OfferUp to stay warm and stylish at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962498\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival goers gather in front of the Lands End Stage to watch Sabrina Carpenter headline Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962508\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Gaing (center) cheers from the front row of the Lands End Stage as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Brown (left) and Emily Koehler watch Chappell Roan perform at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexandro Cervantes waves their wig in the air as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Rose (left) and Mike Derb watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Walter (left) and Dre Jameson blow bubbles at the Soma Stage as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left) and Yvie Oddly pose for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen and Kyree Lewis (center) dance as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962533\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd in front of the Land End Stage clears as Sturgill Simpson set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Fans showed up and showed out at Outside Lands in their freshest fits.",
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"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music festivals like Outside Lands always bring out hot fits — even in Golden Gate Park’s chilly, foggy mist. This past weekend, photographer Estefany Gonzalez was on the scene at Outside Lands for photos of fans and their festival fashion.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">See photos and read about the weekend’s performances here\u003c/a>\u003c/em>\u003c/strong>. \u003c/p>\n\u003cfigure id=\"attachment_13962488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962488\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bevon Brye wears a floral ‘Midsommar’-inspired outfit at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962507\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Teagan Paris (left) and Emily Izenman kiss as they wait for Chappell Roan to take the stage at Outside Lands on Sunday, Aug. 11, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962497\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ajani Purnell (center) and Lie Burgess dance in front of the Sutro Stage as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962517\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Lopez (center) dances to “Hot To Go!” as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962430\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vyvy Nguyen (center) and friends wear matching friendship bracelets at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Grace Stephenson, Robin Nguyen and Frank Ortiz watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brian Andrews and his daughter Chloe Andrews watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962423\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Addison Overbay (center) watches The Japanese House perform from the front row of the Lands End Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric and Rose Dosier cheer as they are pronounced husband and wife at Outside Lands on Friday, Aug. 9, 2024. The Dosiers are among many couples tying the knot at this year’s festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Shirley Shao,Paula Choi, and Paul Hanna strike a pose in their space inspired outfits at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Gary Payton II poses for a portrait at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962466\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Robinson crowd surfs as Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962496\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anabelle Martin and Christian Martin dance as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962415\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13962415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Sean Ryan dons a faux-fur coat he found on OfferUp to stay warm and stylish at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962498\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival goers gather in front of the Lands End Stage to watch Sabrina Carpenter headline Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962508\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Gaing (center) cheers from the front row of the Lands End Stage as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Brown (left) and Emily Koehler watch Chappell Roan perform at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexandro Cervantes waves their wig in the air as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Rose (left) and Mike Derb watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Walter (left) and Dre Jameson blow bubbles at the Soma Stage as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left) and Yvie Oddly pose for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen and Kyree Lewis (center) dance as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962533\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd in front of the Land End Stage clears as Sturgill Simpson set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson",
"title": "Outside Lands Belonged to Chappell Roan",
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"headTitle": "Outside Lands Belonged to Chappell Roan | KQED",
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"content": "\u003cp>Without a doubt, 2024 was Chappell Roan’s Outside Lands. She was already a pop star in the making when the festival booked her months ago. But on Sunday at 4 p.m., as she pranced across the stage in a sequined leotard singing the opening lines of “Femininomenon,” she became the center of gravity, eclipsing the actual headliners.\u003c/p>\n\u003cp>Vocally, Roan is a maximalist: She packs a lot into her songwriting, and tracks like “Hot To Go” and “Red Wine Supernova” show her range. She belted out with power, seduced the audience in a husky near-whisper and then talked-sang in sassy call-and-responses that everyone could sing along to. Her lyrics were often displayed on screen, as if to remind the audience that not only does she want to impress you — she wants you to feel like you’re part of this.\u003c/p>\n\u003cfigure id=\"attachment_13962515\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While dancing during “After Midnight,” a coy, spicy track about making trouble (“I love a little drama / Let’s start a bar fight”), Roan landed into the splits like a drag queen. And in her darkly funny revenge song “My Kink Is Karma,” she got on her knees and bent over backwards while delivering the track’s psychosexual climax.\u003c/p>\n\u003cp>[aside postID='arts_13962557']“Pink Pony Club” was the scream-along moment of collective catharsis fans seemed to be waiting for. The high-drama song might be a little tongue-in-cheek on the surface, but its central conflict — a gay club go-go dancer defending her job to a disapproving mother (“I’m just having fun / on the stage in my heels / it’s where I belong”) — clearly resonated with everyone who’s had to fight for individuality within their family of origin, whether they’re queer, straight, 16 or 46.\u003c/p>\n\u003cfigure id=\"attachment_13962510\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the screen above the stage showed aerial shots of the massive audience dotted with pink cowboy hats, it was hard not to feel vertigo looking down at sea of people jumping up and down and putting their hands up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roan is good at creating a spectacle, but her set proved that her astronomical rise is a product not of gimmicks or virality, but of raw talent. I haven’t seen an underdog ascend to greatness quite like this since the Warriors clinched their victory in the 2015 NBA finals and launched a dynasty. As a fan, you can feel that Roan is on the cusp of something magnificent, and it’s thrilling to watch. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13962417\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shaboozey performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shaboozey took Golden Gate Park down south\u003c/h2>\n\u003cp>Shaboozey showed immediate gravitas on stage, and his voice was potent, coarse and honeyed all at once as he spun invisible lassos and threw his mic up in the air Friday afternoon. The Fairfax, Virginia artist, whose music melds hip-hop country and rock — and who appeared twice on Beyoncé’s \u003ci>Cowboy Carter\u003c/i> album — sounded as good in person as he does recorded, if not better.\u003c/p>\n\u003cp>He pivoted easily from more heavy songs like “East of the Massanutten,” about leaving his hometown, to upbeat bops like “A Bar Song (Tipsy),” which had him tipping his red solo cup to christen the stage with beer. Sepia visuals of wild horses, the open road shimmering in the southern heat and a pickup truck under a starry sky helped transport fans during Shaboozey’s energetic, hearty and salt-of-the-earth set. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A dry set for Tyla\u003c/h2>\n\u003cp>Tyla’s highly anticipated Friday appearance turned out to be more anticipation than performance — the artist was over 30 minutes late. Her presence felt a little lackluster, too, maybe because she had so little time to actually be present. But in the four songs that she fit in, Tyla still wowed her audience, whose roars were increasingly deafening with each undulation of her body, especially to her viral song “Water,” which has had folks all over the internet pouring water all over themselves while twerking.\u003c/p>\n\u003cp>Unfortunately, the singer left the stage as quickly as she entered it, her enormous prop inflatable tiger collapsing back to the ground in a pitiful heap as festival employees prepared the stage for Kevin Abstract. Audience members, though visibly disappointed, were still murmuring how incredible she was. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962449\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Caesar performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Daniel Caesar really was Friday’s ‘Best Part’\u003c/h2>\n\u003cp>If Tyla left more to be desired, Daniel Caesar gave the people what they wanted for as long as he could. While the Killers headlined Friday, Caesar arrived on the smaller Sutro stage in a shroud of fog that accentuated his heavenly vocals in front of a jam-packed crowd. He was captivating for over 15 songs straight. From newer hits like “Always” (from his 2023 album, \u003cem>Never Enough\u003c/em>) to classics burned into our core romantic memories like “Best Part,” the crowd was right there with him, word for word. But the jewel of Caesar’s performance came as he seemingly ended his set only to suddenly reappear in a nearby grove of Eucalyptus trees singing his cover of Kanye’s “Street Lights.” The moment was cut short by the festival, but was beautiful nonetheless. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962455\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sabrina Carpenter headlines Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sabrina Carpenter brought out Kacey Musgraves\u003c/h2>\n\u003cp>Let’s get this out of the way: Sabrina Carpenter did a great job. “It’s my first time headlining a festival,” she said on Saturday night before thanking the crowd — but you couldn’t really tell at first glance. Her setlist had its peaks and valleys: A highpoint was an epic duet of “These Boots Are Made for Walkin’” with surprise guest Kacey Musgraves. Carpenter’s ballads, however, came off as dreary, and are proving to be her greatest weakness as a songwriter. Nonetheless, her humor shined through during performances of smash hits “Espresso” and “Nonsense,” the latter of which included a special pseudo-Shakespearean outro: “Soon cometh my album, so exciting / My heart doth pound beneath my breasts, so mighty / Outside Lands, it’s like thou art inside me.” \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003ch2>Grace Jones showed club kids how it’s done\u003c/h2>\n\u003cp>Fashion icon and dance music legend Grace Jones set the tone as soon as the curtains parted to reveal her suspended midair while sporting an approximately 20-foot-long gown. The entertainer extraordinaire went on to change into different getups for nearly every song, taking the audience on a journey from 1981’s “Nightclubbing” to church and even her native Jamaica. “I’m gonna pretend I’m hot,” she joked after experiencing the brutal San Francisco chill we’re all too familiar with. Oozing with charisma for the whole hour, the superstar ended her set by getting herself seated on the shoulders of a festival staffer, who carried Jones along the barricade to greet the audience. By this point, Jones had clearly won over even the younger-leaning Sabrina Carpenter fans, who were patiently camping out for Carpenter to take the stage. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962463\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dolores’ drag stage rivaled the main stage\u003c/h2>\n\u003cp>Over at Dolores’ Stage, San Francisco queer nightclub Oasis curated drag performances worthy of the headliner slot. SF drag powerhouse Nicki Jizz MCed a captivating 90-minute version of the club’s recurring all-Black drag show, Reparations, which featured a 12-minute tribute to Beyoncé’s Renaissance World Tour from local queen Mahlae Balenciaga and an energetic “brat summer” number from Jax. \u003cem>RuPaul’s Drag Race\u003c/em> winner Yvie Oddly closed out the show, highlighting her out-there style. She included a history lesson, too: “It blows me away to still get to do things like this,” Oddly proclaimed before showing a compilation of political figures speaking out against LGBTQ+ rights, reminding the audience of what’s at stake in the upcoming elections for trans and queer people of color in this country. And that was the perfect message to end on after a remarkably well-executed show. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962528\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Victoria Monét performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Victoria Monét got her flowers\u003c/h2>\n\u003cp>Despite heavy Golden Gate Park mist coating the stage, Victoria Monét threw down. The R&B star emerged in a pinstriped suit, hat downturned, flanked by four dancers who popped their hips to “Cadillac (A Pimp’s Anthem)” while working their pimp canes like poles. Monét’s voice was sturdy and strong, unassisted by any sort of backing track, as she performed an hour straight of athletic choreo that called to mind 2000s divas like Ciara.\u003c/p>\n\u003cp>After stripping down to a brown ensemble of a crop top and chaps, Monét was giving sexy and self-assured, but she also allowed herself to let loose and be playful. During “Stop (Askin’ Me 4Shyt),” she threw in an ad lib: “Stop acting like the Bay Area don’t got some of the finest women in the world.” Later, during “Smoke,” she did a lap around the audience and got audibly emotional when a fan handed her a bouquet of flowers. The moment felt surprisingly intimate, even as it happened on a massive festival stage. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962535\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson headlines Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A disjointed festival finale\u003c/h2>\n\u003cp>Sturgill Simpson is clearly a talent, but Outside Lands severely miscalculated, and did him a disservice, when they booked him to headline the main stage Sunday. The country star was in prime fighting shape after a three-year hiatus from performing due to a vocal injury. He had a band of the highest order, with instrumentalists seamlessly switching between guitar and lap steel, keys and saxophone as Simpson shredded on his guitar.\u003c/p>\n\u003cp>A dedicated group of head-banging, foot-stomping, hat-tipping fans were feeling it. But in my years of covering this festival, I’ve never seen such a sparse crowd for a headliner, especially one giving it their all like this. That was disappointing.\u003c/p>\n\u003cfigure id=\"attachment_13962534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Will Kirkland (right) stands in the front row at the Lands End Stage as Sturgill Simpson’s set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Outside Lands took a risk by stacking the lineup with country acts this year. But San Francisco isn’t much of a country town, and the audience continued to atrophy from Simpson’s set over to Kaytranada’s. The Canadian house music producer and DJ was presiding over a massive dance party on the other side of the park, and one couldn’t help but think that the booking didn’t allow for either act to fully shine. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>More performers at Outside Lands:\u003c/h3>\n\u003cfigure id=\"attachment_13962531\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962501\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962501\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fletcher performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962440\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962495\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mel 4Ever performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962462\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay performs Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962487\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962487\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962421\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Japanese House performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962479\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Yvie Oddly performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"blocks": [],
"excerpt": "Other festival performers shined, but the Midwest Princess owned the weekend.",
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"title": "Outside Lands Belonged to Chappell Roan: Review, Photos | KQED",
"description": "Recapping the 2024 festival, with highlights Grace Jones, Victoria Monét, Sabrina Carpenter, Daniel Caesar and more.",
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"socialDescription": "Recapping the 2024 festival, with highlights Grace Jones, Victoria Monét, Sabrina Carpenter, Daniel Caesar and more.",
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"headline": "Outside Lands Belonged to Chappell Roan",
"datePublished": "2024-08-12T08:12:31-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without a doubt, 2024 was Chappell Roan’s Outside Lands. She was already a pop star in the making when the festival booked her months ago. But on Sunday at 4 p.m., as she pranced across the stage in a sequined leotard singing the opening lines of “Femininomenon,” she became the center of gravity, eclipsing the actual headliners.\u003c/p>\n\u003cp>Vocally, Roan is a maximalist: She packs a lot into her songwriting, and tracks like “Hot To Go” and “Red Wine Supernova” show her range. She belted out with power, seduced the audience in a husky near-whisper and then talked-sang in sassy call-and-responses that everyone could sing along to. Her lyrics were often displayed on screen, as if to remind the audience that not only does she want to impress you — she wants you to feel like you’re part of this.\u003c/p>\n\u003cfigure id=\"attachment_13962515\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While dancing during “After Midnight,” a coy, spicy track about making trouble (“I love a little drama / Let’s start a bar fight”), Roan landed into the splits like a drag queen. And in her darkly funny revenge song “My Kink Is Karma,” she got on her knees and bent over backwards while delivering the track’s psychosexual climax.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pink Pony Club” was the scream-along moment of collective catharsis fans seemed to be waiting for. The high-drama song might be a little tongue-in-cheek on the surface, but its central conflict — a gay club go-go dancer defending her job to a disapproving mother (“I’m just having fun / on the stage in my heels / it’s where I belong”) — clearly resonated with everyone who’s had to fight for individuality within their family of origin, whether they’re queer, straight, 16 or 46.\u003c/p>\n\u003cfigure id=\"attachment_13962510\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the screen above the stage showed aerial shots of the massive audience dotted with pink cowboy hats, it was hard not to feel vertigo looking down at sea of people jumping up and down and putting their hands up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roan is good at creating a spectacle, but her set proved that her astronomical rise is a product not of gimmicks or virality, but of raw talent. I haven’t seen an underdog ascend to greatness quite like this since the Warriors clinched their victory in the 2015 NBA finals and launched a dynasty. As a fan, you can feel that Roan is on the cusp of something magnificent, and it’s thrilling to watch. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13962417\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shaboozey performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shaboozey took Golden Gate Park down south\u003c/h2>\n\u003cp>Shaboozey showed immediate gravitas on stage, and his voice was potent, coarse and honeyed all at once as he spun invisible lassos and threw his mic up in the air Friday afternoon. The Fairfax, Virginia artist, whose music melds hip-hop country and rock — and who appeared twice on Beyoncé’s \u003ci>Cowboy Carter\u003c/i> album — sounded as good in person as he does recorded, if not better.\u003c/p>\n\u003cp>He pivoted easily from more heavy songs like “East of the Massanutten,” about leaving his hometown, to upbeat bops like “A Bar Song (Tipsy),” which had him tipping his red solo cup to christen the stage with beer. Sepia visuals of wild horses, the open road shimmering in the southern heat and a pickup truck under a starry sky helped transport fans during Shaboozey’s energetic, hearty and salt-of-the-earth set. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A dry set for Tyla\u003c/h2>\n\u003cp>Tyla’s highly anticipated Friday appearance turned out to be more anticipation than performance — the artist was over 30 minutes late. Her presence felt a little lackluster, too, maybe because she had so little time to actually be present. But in the four songs that she fit in, Tyla still wowed her audience, whose roars were increasingly deafening with each undulation of her body, especially to her viral song “Water,” which has had folks all over the internet pouring water all over themselves while twerking.\u003c/p>\n\u003cp>Unfortunately, the singer left the stage as quickly as she entered it, her enormous prop inflatable tiger collapsing back to the ground in a pitiful heap as festival employees prepared the stage for Kevin Abstract. Audience members, though visibly disappointed, were still murmuring how incredible she was. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962449\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Caesar performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Daniel Caesar really was Friday’s ‘Best Part’\u003c/h2>\n\u003cp>If Tyla left more to be desired, Daniel Caesar gave the people what they wanted for as long as he could. While the Killers headlined Friday, Caesar arrived on the smaller Sutro stage in a shroud of fog that accentuated his heavenly vocals in front of a jam-packed crowd. He was captivating for over 15 songs straight. From newer hits like “Always” (from his 2023 album, \u003cem>Never Enough\u003c/em>) to classics burned into our core romantic memories like “Best Part,” the crowd was right there with him, word for word. But the jewel of Caesar’s performance came as he seemingly ended his set only to suddenly reappear in a nearby grove of Eucalyptus trees singing his cover of Kanye’s “Street Lights.” The moment was cut short by the festival, but was beautiful nonetheless. \u003cem>— Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962455\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_045-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sabrina Carpenter headlines Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sabrina Carpenter brought out Kacey Musgraves\u003c/h2>\n\u003cp>Let’s get this out of the way: Sabrina Carpenter did a great job. “It’s my first time headlining a festival,” she said on Saturday night before thanking the crowd — but you couldn’t really tell at first glance. Her setlist had its peaks and valleys: A highpoint was an epic duet of “These Boots Are Made for Walkin’” with surprise guest Kacey Musgraves. Carpenter’s ballads, however, came off as dreary, and are proving to be her greatest weakness as a songwriter. Nonetheless, her humor shined through during performances of smash hits “Espresso” and “Nonsense,” the latter of which included a special pseudo-Shakespearean outro: “Soon cometh my album, so exciting / My heart doth pound beneath my breasts, so mighty / Outside Lands, it’s like thou art inside me.” \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_036-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003ch2>Grace Jones showed club kids how it’s done\u003c/h2>\n\u003cp>Fashion icon and dance music legend Grace Jones set the tone as soon as the curtains parted to reveal her suspended midair while sporting an approximately 20-foot-long gown. The entertainer extraordinaire went on to change into different getups for nearly every song, taking the audience on a journey from 1981’s “Nightclubbing” to church and even her native Jamaica. “I’m gonna pretend I’m hot,” she joked after experiencing the brutal San Francisco chill we’re all too familiar with. Oozing with charisma for the whole hour, the superstar ended her set by getting herself seated on the shoulders of a festival staffer, who carried Jones along the barricade to greet the audience. By this point, Jones had clearly won over even the younger-leaning Sabrina Carpenter fans, who were patiently camping out for Carpenter to take the stage. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962463\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dolores’ drag stage rivaled the main stage\u003c/h2>\n\u003cp>Over at Dolores’ Stage, San Francisco queer nightclub Oasis curated drag performances worthy of the headliner slot. SF drag powerhouse Nicki Jizz MCed a captivating 90-minute version of the club’s recurring all-Black drag show, Reparations, which featured a 12-minute tribute to Beyoncé’s Renaissance World Tour from local queen Mahlae Balenciaga and an energetic “brat summer” number from Jax. \u003cem>RuPaul’s Drag Race\u003c/em> winner Yvie Oddly closed out the show, highlighting her out-there style. She included a history lesson, too: “It blows me away to still get to do things like this,” Oddly proclaimed before showing a compilation of political figures speaking out against LGBTQ+ rights, reminding the audience of what’s at stake in the upcoming elections for trans and queer people of color in this country. And that was the perfect message to end on after a remarkably well-executed show. \u003cem>— Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962528\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Victoria Monét performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Victoria Monét got her flowers\u003c/h2>\n\u003cp>Despite heavy Golden Gate Park mist coating the stage, Victoria Monét threw down. The R&B star emerged in a pinstriped suit, hat downturned, flanked by four dancers who popped their hips to “Cadillac (A Pimp’s Anthem)” while working their pimp canes like poles. Monét’s voice was sturdy and strong, unassisted by any sort of backing track, as she performed an hour straight of athletic choreo that called to mind 2000s divas like Ciara.\u003c/p>\n\u003cp>After stripping down to a brown ensemble of a crop top and chaps, Monét was giving sexy and self-assured, but she also allowed herself to let loose and be playful. During “Stop (Askin’ Me 4Shyt),” she threw in an ad lib: “Stop acting like the Bay Area don’t got some of the finest women in the world.” Later, during “Smoke,” she did a lap around the audience and got audibly emotional when a fan handed her a bouquet of flowers. The moment felt surprisingly intimate, even as it happened on a massive festival stage. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13962535\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson headlines Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A disjointed festival finale\u003c/h2>\n\u003cp>Sturgill Simpson is clearly a talent, but Outside Lands severely miscalculated, and did him a disservice, when they booked him to headline the main stage Sunday. The country star was in prime fighting shape after a three-year hiatus from performing due to a vocal injury. He had a band of the highest order, with instrumentalists seamlessly switching between guitar and lap steel, keys and saxophone as Simpson shredded on his guitar.\u003c/p>\n\u003cp>A dedicated group of head-banging, foot-stomping, hat-tipping fans were feeling it. But in my years of covering this festival, I’ve never seen such a sparse crowd for a headliner, especially one giving it their all like this. That was disappointing.\u003c/p>\n\u003cfigure id=\"attachment_13962534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_030-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Will Kirkland (right) stands in the front row at the Lands End Stage as Sturgill Simpson’s set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Outside Lands took a risk by stacking the lineup with country acts this year. But San Francisco isn’t much of a country town, and the audience continued to atrophy from Simpson’s set over to Kaytranada’s. The Canadian house music producer and DJ was presiding over a massive dance party on the other side of the park, and one couldn’t help but think that the booking didn’t allow for either act to fully shine. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>More performers at Outside Lands:\u003c/h3>\n\u003cfigure id=\"attachment_13962531\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962501\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962501\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fletcher performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962440\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_030-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962495\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_041-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mel 4Ever performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962462\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay performs Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962487\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962487\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_033-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962421\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Japanese House performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962479\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_025-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Yvie Oddly performs on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "alexis-floyd-jettison-creative-photography",
"title": "For This San Ramon Photographer, There's Metamorphosis in Everything",
"publishDate": 1723147560,
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"headTitle": "For This San Ramon Photographer, There’s Metamorphosis in Everything | KQED",
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"content": "\u003cp>Growing into a new and improved form of oneself is both an intimate experience and a universal concept. Photographer \u003ca href=\"https://www.instagram.com/aleexisflyd/\" target=\"_blank\" rel=\"noopener\">Alexis Floyd\u003c/a> has gone through her own metamorphosis of late, and now it’s time for the final stage: spreading her wings and showing her growth to the world.\u003c/p>\n\u003cp>Floyd’s first solo show, \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\" target=\"_blank\" rel=\"noopener\">\u003cem>Rhythm Of The Butterfly\u003c/em>\u003c/a>, showcases her stylish portrait photography on Saturday at Jettison Creative in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13962288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31%E2%80%AFAM-800x1096.png\" alt=\"A woman sits backwards on a folding chair while wearing pink boxing gloves and posing for the camera.\" width=\"800\" height=\"1096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-800x1096.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-1020x1398.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-768x1052.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Isabel poses for a knockout portrait. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floyd, a 29-year-old artist from San Ramon, admits she’s a bit nervous about her show. But even those nerves serve a purpose in the transformation process.\u003c/p>\n\u003cp>“I’ve always kind of lived my life in fear, and I was always scared of trying new things,” says Floyd during a recent phone call. But lately she’s been putting herself out there, which has helped her overcome her fears and brought about some life-changing results — including becoming an artist-in-residence at Jettison Creative.\u003c/p>\n\u003cfigure id=\"attachment_13962290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24%E2%80%AFAM-800x1185.png\" alt=\"A shirtless man sits on a park bench with his right leg folded in his lap, looking off into the distance. \" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1020x1510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-768x1137.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1037x1536.png 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Brown poses for a candid shot in the park. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Me even applying for the artist-in-residence was a leap of faith and a testament to my evolution,” says Floyd. “And you can see the growth in my work. It’s different than anything I’ve posted on social media or on my website.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, in addition to her vibrant photography, Floyd is debuting other creative endeavors: collages made from plants, and jewelry made of cowrie shells. A nod to both African American and African culture, the pieces are representative of her identity as a Black young woman.\u003c/p>\n\u003cp>“My work is very intimate,” attests Floyd, noting that her art is about rebirth, transformation and perseverance, as well as spirituality. “My hope for everything I do,” says Floyd, “is for my work to be representative of God’s love and light.”\u003c/p>\n\u003cfigure id=\"attachment_13962291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg\" alt=\"A woman in a bedazzled grey hat strikes a pose that allows you to see her gold teeth and dark red assemble.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meka Jannali showing how to properly wear a bedazzled hat and a gold grill. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Floyd wants her work to be a mirror for attendees, so they can see themselves in her work, and recognize the progress that \u003cem>they’ve\u003c/em> made.\u003c/p>\n\u003cp>“I want this to be an immersive experience,” says Floyd, “and a place for healing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alexis Floyd’s ‘Rhythm Of The Butterfly’ is a free exhibition on Saturday, Aug. 10, at Jettison Creative in San Francisco from 5 p.m. to 9 p.m. \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing into a new and improved form of oneself is both an intimate experience and a universal concept. Photographer \u003ca href=\"https://www.instagram.com/aleexisflyd/\" target=\"_blank\" rel=\"noopener\">Alexis Floyd\u003c/a> has gone through her own metamorphosis of late, and now it’s time for the final stage: spreading her wings and showing her growth to the world.\u003c/p>\n\u003cp>Floyd’s first solo show, \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\" target=\"_blank\" rel=\"noopener\">\u003cem>Rhythm Of The Butterfly\u003c/em>\u003c/a>, showcases her stylish portrait photography on Saturday at Jettison Creative in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13962288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31%E2%80%AFAM-800x1096.png\" alt=\"A woman sits backwards on a folding chair while wearing pink boxing gloves and posing for the camera.\" width=\"800\" height=\"1096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-800x1096.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-1020x1398.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-768x1052.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Isabel poses for a knockout portrait. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floyd, a 29-year-old artist from San Ramon, admits she’s a bit nervous about her show. But even those nerves serve a purpose in the transformation process.\u003c/p>\n\u003cp>“I’ve always kind of lived my life in fear, and I was always scared of trying new things,” says Floyd during a recent phone call. But lately she’s been putting herself out there, which has helped her overcome her fears and brought about some life-changing results — including becoming an artist-in-residence at Jettison Creative.\u003c/p>\n\u003cfigure id=\"attachment_13962290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24%E2%80%AFAM-800x1185.png\" alt=\"A shirtless man sits on a park bench with his right leg folded in his lap, looking off into the distance. \" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1020x1510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-768x1137.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1037x1536.png 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Brown poses for a candid shot in the park. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Me even applying for the artist-in-residence was a leap of faith and a testament to my evolution,” says Floyd. “And you can see the growth in my work. It’s different than anything I’ve posted on social media or on my website.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, in addition to her vibrant photography, Floyd is debuting other creative endeavors: collages made from plants, and jewelry made of cowrie shells. A nod to both African American and African culture, the pieces are representative of her identity as a Black young woman.\u003c/p>\n\u003cp>“My work is very intimate,” attests Floyd, noting that her art is about rebirth, transformation and perseverance, as well as spirituality. “My hope for everything I do,” says Floyd, “is for my work to be representative of God’s love and light.”\u003c/p>\n\u003cfigure id=\"attachment_13962291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg\" alt=\"A woman in a bedazzled grey hat strikes a pose that allows you to see her gold teeth and dark red assemble.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meka Jannali showing how to properly wear a bedazzled hat and a gold grill. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Floyd wants her work to be a mirror for attendees, so they can see themselves in her work, and recognize the progress that \u003cem>they’ve\u003c/em> made.\u003c/p>\n\u003cp>“I want this to be an immersive experience,” says Floyd, “and a place for healing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alexis Floyd’s ‘Rhythm Of The Butterfly’ is a free exhibition on Saturday, Aug. 10, at Jettison Creative in San Francisco from 5 p.m. to 9 p.m. \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-olivia-rodrigo-san-francisco-chase-center-guts-tour",
"title": "Review: Olivia Rodrigo Leads the Choir, Literally, in San Francisco",
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"content": "\u003cp>I believe in the church of pop music. The congregation of an arena crowd, the ceremony of call and response, the big dumb sing-along of radio-hit scripture. I believe in simple human wisdom so perfectly produced that it reaches the spiritual, and I believe in the solace of \u003cem>formula\u003c/em>, which is just another word for tradition.\u003c/p>\n\u003cp>In other words, I believe in Olivia Rodrigo, and in the transcendence of her GUTS tour at the Chase Center in San Francisco on Friday night. And I especially endorse Olivia Rodrigo’s reformist sect within the church of pop music, which preaches that teenage girls deserve redemption too. \u003c/p>\n\u003cfigure id=\"attachment_13962061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg\" alt=\"\" width=\"2000\" height=\"1282\" class=\"size-full wp-image-13962061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1920x1231.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more agnostic reviewer might tell you facts: that for nearly two hours, the “21-year-old phenomenon” Rodrigo “captivated the crowd” with her “energetic stage presence.” I can’t do that, though, because this was not even a concert, really. It was a \u003cem>ritual\u003c/em>, led by the power of a three-minute pop song to finally put into words what millions of young girls haven’t found the exact language for. \u003c/p>\n\u003cp>That much was evident in the arena’s attendees, a sea of teens and pre-teens in lavender and sequin, screaming along at deafening volume to Rodrigo’s opening song, “bad idea right?” This joyful noise somehow grew even louder for “ballad of a homeschooled girl.” Next came “vampire,” which showed Rodrigo’s talent for embodying a delicate song as first-person narrator while simultaneously inviting an ear-piercing 20,000-piece amateur choir into her personal world. \u003c/p>\n\u003cfigure id=\"attachment_13962059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13962059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1920x1273.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We live in an age where finally, women \u003ca href=\"https://www.billboard.com/music/chart-beat/billboard-200-top-five-four-women-taylor-swift-billie-eilish-megan-thee-stallion-chappell-roan-1235725967/\">regularly occupy\u003c/a> the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-six-women-billboard-200-top-10-first-time-this-decade-1235720996/\">majority of the top positions\u003c/a> on the Billboard charts. Rodrigo is special, though; it’s almost scary how precise she is in singing about the emotions of adolescence, and isolating small aspects of a relationship to explore them at length.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Case in point: “deja vu,” a gift to any girl who’s watched from afar as her relationship gets copied and pasted. Or “traitor,” a kiss-off waltz performed as Rodrigo’s eight dancers played with shadows and light while she played with the tiny nuances of loyalty and betrayal.\u003c/p>\n\u003cp>Plus, in Rodrigo’s hands, insecurities have never been so \u003cem>fun\u003c/em>. Obsession, jealousy, compulsion, rage, wanting to sleep with your ex-boyfriend — her songs are mini-sermons of validation that say, in essence, “Everyone feels that way sometimes! And it’s \u003cem>great\u003c/em>!”\u003c/p>\n\u003cfigure id=\"attachment_13962058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13962058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This care for her younger fans, this cool older sister thing, ran throughout Friday’s show. “I’m 21 now, and I feel so happy and loved, and excited for the future,” Rodrigo assured the crowd while introducing “teenage dream.” “You have no idea how many wonderful things are right around the corner.”\u003c/p>\n\u003cp>She gave fans the acknowledgment of loved ones on the giant screen, showing the BFFs and significant others in the crowd. She reminded those who came with their parents, who probably spent three paychecks on tickets: “Hug them and tell them you love them!”\u003c/p>\n\u003cp>For two songs, she sailed on a crescent moon above the floor to get as close to the far sections as possible, waving while singing. On stage, her band comprised entirely of women and nonbinary musicians subtly said \u003cem>you can do this too\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13962060\" class=\"wp-caption aligncenter\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg\" alt=\"\" width=\"1925\" height=\"1333\" class=\"size-full wp-image-13962060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1920x1330.jpg 1920w\" sizes=\"auto, (max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And she offered the physical rebirth of letting it all out. Fans sang along to every single word of her songs, very loudly, all night long. During “all-american bitch,” Rodrigo instructed people to think of someone or something that pisses them off the most, and gave them a prolonged moment to scream their guts out about it.\u003c/p>\n\u003cp>Rodrigo’s done this at every show, as part of her tour’s mostly canned patter. But you know what? As a custom in the church of pop music, I even believe in canned patter: the lines about this being the best night ever, or the crowd being the best crowd ever. Because of course, it worked on me once, too — and, in the adrenaline rush of hearing it from your favorite singer, believing it is the greatest feeling in the world. \u003c/p>\n\u003cfigure id=\"attachment_13962062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg\" alt=\"\" width=\"2000\" height=\"1315\" class=\"size-full wp-image-13962062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mainly, the night belonged to emotional precision. By the encore of “get him back!,” while sporting a “Bae Area” tank top, Rodrigo brought her young, multicultural congregation to uncontrollable elation simply by singing about their inner lives, accurately.\u003c/p>\n\u003cp>The crowd chanted along, the confetti shot into the air, and Rodrigo danced with abandon, skipping across the grave of every dumb boy, reassuring the still-screaming throng that their tortured feelings can and will dissipate, and that a better world is possible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Olivia Rodrigo performs the second of two Bay Area shows on Saturday, Aug. 3, at the Chase Center in San Francisco. \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-guts-world-tour-san-francisco-california-08-03-2024/event/1C005F2EEFE15A98\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "At the Chase Center, Rodrigo’s precise, emotional songs were accompanied by ear-piercing teenage abandon. ",
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"title": "Review: Olivia Rodrigo Leads the Choir, Literally, in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I believe in the church of pop music. The congregation of an arena crowd, the ceremony of call and response, the big dumb sing-along of radio-hit scripture. I believe in simple human wisdom so perfectly produced that it reaches the spiritual, and I believe in the solace of \u003cem>formula\u003c/em>, which is just another word for tradition.\u003c/p>\n\u003cp>In other words, I believe in Olivia Rodrigo, and in the transcendence of her GUTS tour at the Chase Center in San Francisco on Friday night. And I especially endorse Olivia Rodrigo’s reformist sect within the church of pop music, which preaches that teenage girls deserve redemption too. \u003c/p>\n\u003cfigure id=\"attachment_13962061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg\" alt=\"\" width=\"2000\" height=\"1282\" class=\"size-full wp-image-13962061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1920x1231.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more agnostic reviewer might tell you facts: that for nearly two hours, the “21-year-old phenomenon” Rodrigo “captivated the crowd” with her “energetic stage presence.” I can’t do that, though, because this was not even a concert, really. It was a \u003cem>ritual\u003c/em>, led by the power of a three-minute pop song to finally put into words what millions of young girls haven’t found the exact language for. \u003c/p>\n\u003cp>That much was evident in the arena’s attendees, a sea of teens and pre-teens in lavender and sequin, screaming along at deafening volume to Rodrigo’s opening song, “bad idea right?” This joyful noise somehow grew even louder for “ballad of a homeschooled girl.” Next came “vampire,” which showed Rodrigo’s talent for embodying a delicate song as first-person narrator while simultaneously inviting an ear-piercing 20,000-piece amateur choir into her personal world. \u003c/p>\n\u003cfigure id=\"attachment_13962059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13962059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1920x1273.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We live in an age where finally, women \u003ca href=\"https://www.billboard.com/music/chart-beat/billboard-200-top-five-four-women-taylor-swift-billie-eilish-megan-thee-stallion-chappell-roan-1235725967/\">regularly occupy\u003c/a> the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-six-women-billboard-200-top-10-first-time-this-decade-1235720996/\">majority of the top positions\u003c/a> on the Billboard charts. Rodrigo is special, though; it’s almost scary how precise she is in singing about the emotions of adolescence, and isolating small aspects of a relationship to explore them at length.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Case in point: “deja vu,” a gift to any girl who’s watched from afar as her relationship gets copied and pasted. Or “traitor,” a kiss-off waltz performed as Rodrigo’s eight dancers played with shadows and light while she played with the tiny nuances of loyalty and betrayal.\u003c/p>\n\u003cp>Plus, in Rodrigo’s hands, insecurities have never been so \u003cem>fun\u003c/em>. Obsession, jealousy, compulsion, rage, wanting to sleep with your ex-boyfriend — her songs are mini-sermons of validation that say, in essence, “Everyone feels that way sometimes! And it’s \u003cem>great\u003c/em>!”\u003c/p>\n\u003cfigure id=\"attachment_13962058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13962058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This care for her younger fans, this cool older sister thing, ran throughout Friday’s show. “I’m 21 now, and I feel so happy and loved, and excited for the future,” Rodrigo assured the crowd while introducing “teenage dream.” “You have no idea how many wonderful things are right around the corner.”\u003c/p>\n\u003cp>She gave fans the acknowledgment of loved ones on the giant screen, showing the BFFs and significant others in the crowd. She reminded those who came with their parents, who probably spent three paychecks on tickets: “Hug them and tell them you love them!”\u003c/p>\n\u003cp>For two songs, she sailed on a crescent moon above the floor to get as close to the far sections as possible, waving while singing. On stage, her band comprised entirely of women and nonbinary musicians subtly said \u003cem>you can do this too\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13962060\" class=\"wp-caption aligncenter\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg\" alt=\"\" width=\"1925\" height=\"1333\" class=\"size-full wp-image-13962060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1920x1330.jpg 1920w\" sizes=\"auto, (max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And she offered the physical rebirth of letting it all out. Fans sang along to every single word of her songs, very loudly, all night long. During “all-american bitch,” Rodrigo instructed people to think of someone or something that pisses them off the most, and gave them a prolonged moment to scream their guts out about it.\u003c/p>\n\u003cp>Rodrigo’s done this at every show, as part of her tour’s mostly canned patter. But you know what? As a custom in the church of pop music, I even believe in canned patter: the lines about this being the best night ever, or the crowd being the best crowd ever. Because of course, it worked on me once, too — and, in the adrenaline rush of hearing it from your favorite singer, believing it is the greatest feeling in the world. \u003c/p>\n\u003cfigure id=\"attachment_13962062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg\" alt=\"\" width=\"2000\" height=\"1315\" class=\"size-full wp-image-13962062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mainly, the night belonged to emotional precision. By the encore of “get him back!,” while sporting a “Bae Area” tank top, Rodrigo brought her young, multicultural congregation to uncontrollable elation simply by singing about their inner lives, accurately.\u003c/p>\n\u003cp>The crowd chanted along, the confetti shot into the air, and Rodrigo danced with abandon, skipping across the grave of every dumb boy, reassuring the still-screaming throng that their tortured feelings can and will dissipate, and that a better world is possible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Olivia Rodrigo performs the second of two Bay Area shows on Saturday, Aug. 3, at the Chase Center in San Francisco. \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-guts-world-tour-san-francisco-california-08-03-2024/event/1C005F2EEFE15A98\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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