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After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>[aside postID='arts_13962094']Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YxmAPxN104o\u003c/p>\n\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>[aside postID='arts_13962624']In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>[aside postID='arts_13926813']Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Dee Dee Simon will sing in the final round of 'America's Got Talent' — as the entire prison cheers her on.","status":"publish","parent":0,"modified":1726519910,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1136},"headData":{"title":"The San Quentin Nurse Showing America That She’s Got Talent | KQED","description":"Dee Dee Simon will sing in the final round of 'America's Got Talent' — as the entire prison cheers her on.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The San Quentin Nurse Showing America That She’s Got Talent","datePublished":"2024-09-16T13:51:50-07:00","dateModified":"2024-09-16T13:51:50-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13964217","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13964217/san-quentin-nurse-dee-dee-simon-americas-got-talent","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962094","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YxmAPxN104o'\n title='//www.youtube.com/embed/YxmAPxN104o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962624","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926813","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13964217/san-quentin-nurse-dee-dee-simon-americas-got-talent","authors":["11491"],"categories":["arts_1","arts_69","arts_990"],"tags":["arts_10342","arts_10278","arts_1985","arts_5422"],"featImg":"arts_13964245","label":"arts"},"arts_13963789":{"type":"posts","id":"arts_13963789","meta":{"index":"posts_1716263798","site":"arts","id":"13963789","score":null,"sort":[1725628521000]},"guestAuthors":[],"slug":"la-dona-los-altos-de-la-soledad","title":"La Doña Wrote Her New Album for Immigrant, Working-Class San Francisco","publishDate":1725628521,"format":"audio","headTitle":"La Doña Wrote Her New Album for Immigrant, Working-Class San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>An independent artist in the middle of a breakthrough might be tempted to contort herself into an industry-approved mold. But \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a> isn’t just any artist.\u003c/p>\n\u003cp>The San Francisco singer, producer and bandleader has spent the past few years building her national profile on the festival circuit (\u003ca href=\"https://www.sfchronicle.com/entertainment/article/obama-playlist-la-dona-sf-18253402.php\">even Barack Obama is a fan\u003c/a>). But even as her reach grows, she’s doubled down on her commitment to her working-class, immigrant San Francisco community and liberation politics. When her management team didn’t see her vision, she broke up with them and placed a bet on herself. And while the majority of the music industry stays silent on Gaza, La Doña has spent the past year calling for a ceasefire in the streets and on stage.\u003c/p>\n\u003cp>La Doña’s latest album, \u003ci>Los Altos de la Soledad\u003c/i> (out Sept. 6 via Empire, with support from the California Creative Corps Fellowship), arrives as her most ambitious work yet. The exquisitely layered, deeply collaborative project features contributions from La Doña’s music students, a 23-person orchestra and acclaimed musicians like Berkeley jazz flutist \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> and New York Dominican guitarist \u003ca href=\"https://www.youtube.com/watch?v=tajoGudOj70&list=RDEMQOwtQu8ayUXik-X_I2CvLA&start_radio=1\">Yasser Tejeda\u003c/a>, among others. It digs deep into musical styles La Doña has spent a lifetime studying — boleros, corridos, cumbia, reggaeton — and pulls them into a snapshot of love and life during tumultuous times of war, class struggle and gentrification.\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/album/4IczTorllzYqLnPNooQeUM?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>“I have to follow the music,” says the artist, whose real name is Cecilia Peña-Govea. “I can’t really follow the market or follow an audience or follow what’s expected of me. I have to just follow the creative ideas that come to me, which is really liberating, but also really scary because it’s all on me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title track of the album, a lush, symphonic bolero assisted by \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra\u003c/a>, is a thesis statement on how La Doña leaned into solitude during a time when her personal and professional worlds turned upside down. On top of becoming her own manager, she spent last year navigating the end of a long-term romantic relationship. And for the first time in her life, the youngest child of activists and musicians — who’s accustomed to the happy chaos of collaborators and friends swirling around her — decided to sit with herself and face fear and discomfort head on.\u003c/p>\n\u003cfigure id=\"attachment_13963791\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">La Doña leaned into solitude while working on ‘Los Altos de la Soledad.’ \u003ccite>(María del Rio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Doña emerged with a profound belief that in order to grow outwardly, she needed to deepen her roots. Those include a political tradition going back more than half a century in San Francisco — of solidarity with Palestinians fighting for rights and self-determination in Gaza and the West Bank.\u003c/p>\n\u003cp>“The struggle for Palestinian sovereignty and liberation has been part of this transnational struggle for the liberation of all Third World people,” says La Doña, noting that she sees it as parallel to the Indigenous Land Back movement.\u003c/p>\n\u003cp>A particularly fiery moment of \u003ci>Los Altos de la Soledad\u003c/i> arrives on “Corrido Palestina.” After protest chants blare in the interlude “El Mundo Se Levanta” (“The World Rises Up”), La Doña’s vocals swell with determination as she calls out the Biden administration for sending arms to Israel. “No se puede silenciar nuestros gritos y canciones” (“They can’t silence our cries and songs”), she affirms as the horn section resolutely marches forward.\u003c/p>\n\u003cfigure id=\"attachment_13900317\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900317\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg\" alt=\"A Mexican American woman in a red dress and black eyeline holds a trumpet among tropical plants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet being this outspoken about a war supported by the majority of the U.S. political establishment has its risks, as La Doña experienced firsthand during her summer tour, when a small group of audience members took offense to her activist stance on the stage. “Everybody wants to see an artist because … they’re inviting you into their lives, into their creative process, into their creative output,” she says. “And then all of a sudden they say something that you don’t like, and you feel like you have license to contact promoters, contact agents, contact funders, arts institutions and try and silence me or tell me to apologize for saying ‘free Palestine.’”\u003c/p>\n\u003cp>Instead of shying away from the topic on \u003ci>Los Altos de la Soledad\u003c/i>, La Doña decided to give the people protest anthems. In addition to “Corrido Palestina,” the dark reggaeton track “Córrales” — which takes aim at corrupt police — features a chilling spoken word section by San Francisco Poet Laureate Tongo Eisen-Martin that follows the money from violent oppression at home to U.S.-backed conflicts abroad: “If you turn down the television low enough / You can hear San Francisco begging for more war profiteering,” he deadpans.\u003c/p>\n\u003cp>For La Doña’s collaborators, her willingness to take a stand connects them to a larger purpose. “I think she’s always had a stance that the role of the artist is to say your truth, to stand up for what’s right, to use music — or whatever art you’re doing — for the greater good,” says Naomi Garcia Pasmanick, the saxophonist and backing vocalist in La Doña’s band who also has directed many of her music videos.\u003c/p>\n\u003cp>https://youtu.be/ToxfEeYweW8?si=2mcHR7jLNMJdt7kQ\u003c/p>\n\u003cp>With the heartsick banda track “Confesiones,” reggaeton post-breakup party anthem “Mejor Que Matarte” and symphonic bolero “El Regreso” as lead singles, \u003ci>Los Altos de la Soledad\u003c/i> has serious range, and pushed La Doña to level up her technical abilities. In the studio, she brought together her band, the featured artists and 23 Awesöme Orchestra musicians, plus arrangers and guest producers. She recorded poetry, protests and interviews, and developed lyrical concepts, or “story maps,” with her music students in San Francisco and Oakland classrooms.\u003c/p>\n\u003cp>David Möschler, Awesöme Orchestra’s conductor and founding artistic director, was impressed with how she got so many collaborators on board with her vision. “There’s a lot of intention behind all that detail, and a lot of history and a lot of respect for what came before,” he says, “and then wanting to … lift up her whole community, and everybody in her band and that she works with.”\u003c/p>\n\u003cp>https://youtu.be/h9obw7TiZwY?si=1gy7ecRE41E_k4tL\u003c/p>\n\u003cp>That sense of upliftment comes through most clearly in a pair of tracks that connect the album’s A and B sides: “La Ida de Luisito” and “El Regreso.” The first song features Luis, an 18-year-old music student of La Doña’s, in his own words over a strumming guitar. As he reminisces about his grandfather playing the instrument every morning in his hammock in Guatemala, he also reveals that he’s in the U.S. without his family, unable to return home because of safety concerns. With cinematic strings and vivid lyrics that romanticize the Guatemalan landscape (“El cielo rompe en mil pedazos con la aurora” — “the sky breaks into a thousand pieces with the sunrise”), “El Regreso” beautifully captures a feeling of uprootedness and alienation immigrants and refugees know all too well, and links Luis’ struggle to those fleeing violence in places like Honduras and the Philippines.\u003c/p>\n\u003cp>La Doña concerns herself with “undertold stories,” and this grassroots way of songwriting with community input has been deeply gratifying. Her artistic ambition is steadily expanding, as is her audience, but it’s that bottom-up approach of listening to people, and that deference to tradition in pursuit of a new sound, that has made her music so singularly soulful.\u003c/p>\n\u003cp>As she puts it, “As my project grows, it’s my intention that the roots grow deeper as well.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña celebrates Los Altos de la Soledad with an album release party at Cafe Du Nord in San Francisco on Sept. 30. \u003ca href=\"https://cafedunord.com/tm-event/la-dona-album-release-party/\">Tickets and details here.\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Los Altos de la Soledad’ captures a snapshot of love and life during times of war and class struggle. ","status":"publish","parent":0,"modified":1726765491,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1437},"headData":{"title":"La Doña's Activism Powers 'Los Altos de la Soledad' | KQED","description":"‘Los Altos de la Soledad’ captures a snapshot of love and life during times of war and class struggle. ","ogTitle":"La Doña Wrote Her New Album for Immigrant, Working-Class San Francisco","ogDescription":"","ogImgId":"","twTitle":"La Doña Wrote Her New Album for Immigrant, Working-Class San Francisco","twDescription":"","twImgId":"","socialTitle":"La Doña's Activism Powers 'Los Altos de la Soledad' %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"La Doña Wrote Her New Album for Immigrant, Working-Class San Francisco","datePublished":"2024-09-06T06:15:21-07:00","dateModified":"2024-09-19T10:04:51-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/5ea7306c-11b1-4be8-8b46-b1e3010db80b/audio.mp3","sticky":false,"nprStoryId":"kqed-13963789","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963789/la-dona-los-altos-de-la-soledad","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An independent artist in the middle of a breakthrough might be tempted to contort herself into an industry-approved mold. But \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a> isn’t just any artist.\u003c/p>\n\u003cp>The San Francisco singer, producer and bandleader has spent the past few years building her national profile on the festival circuit (\u003ca href=\"https://www.sfchronicle.com/entertainment/article/obama-playlist-la-dona-sf-18253402.php\">even Barack Obama is a fan\u003c/a>). But even as her reach grows, she’s doubled down on her commitment to her working-class, immigrant San Francisco community and liberation politics. When her management team didn’t see her vision, she broke up with them and placed a bet on herself. And while the majority of the music industry stays silent on Gaza, La Doña has spent the past year calling for a ceasefire in the streets and on stage.\u003c/p>\n\u003cp>La Doña’s latest album, \u003ci>Los Altos de la Soledad\u003c/i> (out Sept. 6 via Empire, with support from the California Creative Corps Fellowship), arrives as her most ambitious work yet. The exquisitely layered, deeply collaborative project features contributions from La Doña’s music students, a 23-person orchestra and acclaimed musicians like Berkeley jazz flutist \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> and New York Dominican guitarist \u003ca href=\"https://www.youtube.com/watch?v=tajoGudOj70&list=RDEMQOwtQu8ayUXik-X_I2CvLA&start_radio=1\">Yasser Tejeda\u003c/a>, among others. It digs deep into musical styles La Doña has spent a lifetime studying — boleros, corridos, cumbia, reggaeton — and pulls them into a snapshot of love and life during tumultuous times of war, class struggle and gentrification.\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/album/4IczTorllzYqLnPNooQeUM?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>“I have to follow the music,” says the artist, whose real name is Cecilia Peña-Govea. “I can’t really follow the market or follow an audience or follow what’s expected of me. I have to just follow the creative ideas that come to me, which is really liberating, but also really scary because it’s all on me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The title track of the album, a lush, symphonic bolero assisted by \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra\u003c/a>, is a thesis statement on how La Doña leaned into solitude during a time when her personal and professional worlds turned upside down. On top of becoming her own manager, she spent last year navigating the end of a long-term romantic relationship. And for the first time in her life, the youngest child of activists and musicians — who’s accustomed to the happy chaos of collaborators and friends swirling around her — decided to sit with herself and face fear and discomfort head on.\u003c/p>\n\u003cfigure id=\"attachment_13963791\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">La Doña leaned into solitude while working on ‘Los Altos de la Soledad.’ \u003ccite>(María del Rio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Doña emerged with a profound belief that in order to grow outwardly, she needed to deepen her roots. Those include a political tradition going back more than half a century in San Francisco — of solidarity with Palestinians fighting for rights and self-determination in Gaza and the West Bank.\u003c/p>\n\u003cp>“The struggle for Palestinian sovereignty and liberation has been part of this transnational struggle for the liberation of all Third World people,” says La Doña, noting that she sees it as parallel to the Indigenous Land Back movement.\u003c/p>\n\u003cp>A particularly fiery moment of \u003ci>Los Altos de la Soledad\u003c/i> arrives on “Corrido Palestina.” After protest chants blare in the interlude “El Mundo Se Levanta” (“The World Rises Up”), La Doña’s vocals swell with determination as she calls out the Biden administration for sending arms to Israel. “No se puede silenciar nuestros gritos y canciones” (“They can’t silence our cries and songs”), she affirms as the horn section resolutely marches forward.\u003c/p>\n\u003cfigure id=\"attachment_13900317\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900317\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg\" alt=\"A Mexican American woman in a red dress and black eyeline holds a trumpet among tropical plants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet being this outspoken about a war supported by the majority of the U.S. political establishment has its risks, as La Doña experienced firsthand during her summer tour, when a small group of audience members took offense to her activist stance on the stage. “Everybody wants to see an artist because … they’re inviting you into their lives, into their creative process, into their creative output,” she says. “And then all of a sudden they say something that you don’t like, and you feel like you have license to contact promoters, contact agents, contact funders, arts institutions and try and silence me or tell me to apologize for saying ‘free Palestine.’”\u003c/p>\n\u003cp>Instead of shying away from the topic on \u003ci>Los Altos de la Soledad\u003c/i>, La Doña decided to give the people protest anthems. In addition to “Corrido Palestina,” the dark reggaeton track “Córrales” — which takes aim at corrupt police — features a chilling spoken word section by San Francisco Poet Laureate Tongo Eisen-Martin that follows the money from violent oppression at home to U.S.-backed conflicts abroad: “If you turn down the television low enough / You can hear San Francisco begging for more war profiteering,” he deadpans.\u003c/p>\n\u003cp>For La Doña’s collaborators, her willingness to take a stand connects them to a larger purpose. “I think she’s always had a stance that the role of the artist is to say your truth, to stand up for what’s right, to use music — or whatever art you’re doing — for the greater good,” says Naomi Garcia Pasmanick, the saxophonist and backing vocalist in La Doña’s band who also has directed many of her music videos.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ToxfEeYweW8'\n title='//www.youtube.com/embed/ToxfEeYweW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With the heartsick banda track “Confesiones,” reggaeton post-breakup party anthem “Mejor Que Matarte” and symphonic bolero “El Regreso” as lead singles, \u003ci>Los Altos de la Soledad\u003c/i> has serious range, and pushed La Doña to level up her technical abilities. In the studio, she brought together her band, the featured artists and 23 Awesöme Orchestra musicians, plus arrangers and guest producers. She recorded poetry, protests and interviews, and developed lyrical concepts, or “story maps,” with her music students in San Francisco and Oakland classrooms.\u003c/p>\n\u003cp>David Möschler, Awesöme Orchestra’s conductor and founding artistic director, was impressed with how she got so many collaborators on board with her vision. “There’s a lot of intention behind all that detail, and a lot of history and a lot of respect for what came before,” he says, “and then wanting to … lift up her whole community, and everybody in her band and that she works with.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h9obw7TiZwY'\n title='//www.youtube.com/embed/h9obw7TiZwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That sense of upliftment comes through most clearly in a pair of tracks that connect the album’s A and B sides: “La Ida de Luisito” and “El Regreso.” The first song features Luis, an 18-year-old music student of La Doña’s, in his own words over a strumming guitar. As he reminisces about his grandfather playing the instrument every morning in his hammock in Guatemala, he also reveals that he’s in the U.S. without his family, unable to return home because of safety concerns. With cinematic strings and vivid lyrics that romanticize the Guatemalan landscape (“El cielo rompe en mil pedazos con la aurora” — “the sky breaks into a thousand pieces with the sunrise”), “El Regreso” beautifully captures a feeling of uprootedness and alienation immigrants and refugees know all too well, and links Luis’ struggle to those fleeing violence in places like Honduras and the Philippines.\u003c/p>\n\u003cp>La Doña concerns herself with “undertold stories,” and this grassroots way of songwriting with community input has been deeply gratifying. Her artistic ambition is steadily expanding, as is her audience, but it’s that bottom-up approach of listening to people, and that deference to tradition in pursuit of a new sound, that has made her music so singularly soulful.\u003c/p>\n\u003cp>As she puts it, “As my project grows, it’s my intention that the roots grow deeper as well.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña celebrates Los Altos de la Soledad with an album release party at Cafe Du Nord in San Francisco on Sept. 30. \u003ca href=\"https://cafedunord.com/tm-event/la-dona-album-release-party/\">Tickets and details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963789/la-dona-los-altos-de-la-soledad","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_22299","arts_5747"],"featImg":"arts_13963790","label":"arts"},"arts_13963687":{"type":"posts","id":"arts_13963687","meta":{"index":"posts_1716263798","site":"arts","id":"13963687","score":null,"sort":[1725566662000]},"guestAuthors":[],"slug":"taylor-swift-fans-election-kamala-harris-trump-swifties","title":"What Do Taylor Swift Fans Expect From Her in This Election?","publishDate":1725566662,"format":"standard","headTitle":"What Do Taylor Swift Fans Expect From Her in This Election? | KQED","labelTerm":{},"content":"\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>[aside postID='news_11999092']Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>[aside postID='arts_13960424'] Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>[aside postID='arts_13955679']Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Swifties understand why Taylor’s socials have gone dark, but still hope for a Kamala Harris endorsement. \r\n","status":"publish","parent":0,"modified":1726700693,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":46,"wordCount":2415},"headData":{"title":"What Do Taylor Swift Fans Expect From Her in This Election? | KQED","description":"Swifties understand why Taylor’s socials have gone dark, but still hope for a Kamala Harris endorsement. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Do Taylor Swift Fans Expect From Her in This Election?","datePublished":"2024-09-05T13:04:22-07:00","dateModified":"2024-09-18T16:04:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Fandom Vote","sourceUrl":"https://www.kqed.org/fandomvote","sticky":false,"nprStoryId":"kqed-13963687","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963687/taylor-swift-fans-election-kamala-harris-trump-swifties","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11999092","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960424","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963687/taylor-swift-fans-election-kamala-harris-trump-swifties","authors":["11867"],"categories":["arts_1","arts_69","arts_235","arts_75"],"tags":["arts_10342","arts_4949","arts_22277","arts_22227","arts_10278","arts_22224","arts_822","arts_3026"],"featImg":"arts_13963721","label":"source_arts_13963687"},"arts_13963560":{"type":"posts","id":"arts_13963560","meta":{"index":"posts_1716263798","site":"arts","id":"13963560","score":null,"sort":[1725394180000]},"guestAuthors":[],"slug":"sfmoma-unity-through-skateboarding-bipoc-queer-trans-skaters","title":"SFMOMA’s ‘Unity Through Skateboarding’ Celebrates BIPOC, Queer and Trans Skaters","publishDate":1725394180,"format":"standard","headTitle":"SFMOMA’s ‘Unity Through Skateboarding’ Celebrates BIPOC, Queer and Trans Skaters | KQED","labelTerm":{},"content":"\u003cp>All of us can easily picture what a skateboard looks like. Four wheels below a wooden deck with all the fixings (trucks, baseplates, risers, bushings, you get the gist) that create an instantly recognizable mode of transportation, source of fun and personalized style. But for anyone who has never been part of a skate community or skated in a contest, cultural knowledge about the sport usually stops there.\u003c/p>\n\u003cp>[aside postID='arts_13961542']\u003c/p>\n\u003cp>Enter Jeffrey Cheung and Gabriel Ramirez, founders of local skate collective \u003ca href=\"https://www.instagram.com/unityskateboarding/\">Unity\u003c/a> and now guest curators at the San Francisco Museum of Modern Art. Their new vivid installation, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>\u003c/i>, celebrates queer, trans, BIPOC and women skaters of the past and present, including the tight-knit communities they form. \u003c/p>\n\u003cp>Although the exhibition takes up only two rooms, Cheung and Ramirez have packed every inch of space with their collection. One of the first things you notice when you walk into the space is just how much vibrant color you’re surrounded by. Hanging in four neat rows on the wall in the first room of the exhibition are more than 30 skate decks, each featuring original painted artwork. Some of Cheung’s own artwork, which portrays bodies of all sizes, colors and shapes interwoven together on Unity skateboards, appears alongside designs by skaters like \u003ca href=\"https://www.instagram.com/mimiknoop/?hl=en\">Mimi Knoop\u003c/a> and the Oakland artist and skater \u003ca href=\"https://www.instagram.com/marbie.princess/\">Marbie\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13963571\" 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/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg\" alt=\"White wall with grid of vertically arranged skate decks\" width=\"2000\" height=\"1422\" class=\"size-full wp-image-13963571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1920x1365.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposing wall, you’ll find large banners and smaller pieces of artwork containing bits of typed reflections, handwritten announcements and pages of zines. In the center of the room is a large glass display case featuring copies of skate magazines with prominent skaters from across the globe on the covers. It’s a good reminder of just how far skate culture and community can reach, from the Bay Area, to Chicago’s \u003ca href=\"https://www.froskate.com/\">froSkate\u003c/a>, and even overseas in places like Ethiopia and the Philippines. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The installation comes at a time when skateboarding’s popularity, especially among young women and queer skaters, is higher than ever. Internationally, skaters like Brazil’s Rayssa Leal and Japan’s Cocona Hiraki have helped boost the sport in their home countries and on international stages like the Summer Olympics and X Games. In the United States, notable skaters like Alexis Sablone and Bryce Wettstein, combined with opportunities and support from skate groups like \u003ca href=\"https://www.girlisnota4letterword.com/\">Girl Is NOT A 4 Letter Word\u003c/a>, \u003ca href=\"https://www.skatelikeagirl.com/\">Skate Like a Girl\u003c/a> and Unity have helped propel skaters of all backgrounds and identities into the sport. \u003c/p>\n\u003cp>\u003ci>Unity Through Skateboarding\u003c/i> is not only a collection, it’s an ode to these BIPOC, queer, trans and women skaters. That was evident as I entered the second room of the installation, which features three full walls of photos and portraits, a skate box covered in handwritten, heartfelt messages and artwork, and six television screens stacked two high, running multiple skate tapes on a loop. \u003c/p>\n\u003cfigure id=\"attachment_13963570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg\" alt=\"two images of femme skaters doing tricks, one in black-and-white, one in color\" width=\"2000\" height=\"1460\" class=\"size-full wp-image-13963570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1920x1402.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Kevin Thatcher, ‘Stephanie Person, Boneless, Derby Skatepark, Santa Cruz,’ 1985; R: Sean Carabarin, ‘Cher Strauberry, Slappy at Bricks,’ 2021. \u003ccite>(Courtesy Thrasher Magazine and Unity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The skate footage stuck out to me in particular; it really is an act of love to be filmed by someone else while skateboarding. A skate video means someone cares enough to make sure your every attempt at a new trick is captured at a good angle and in decent lighting. It means you have someone who can film police officers who try to detain and immobilize skaters, as some of the clips show.\u003c/p>\n\u003cp>[aside postID='arts_13963016']What makes these videos stand out, too, is that the tapes also include non-skating activities: skaters drinking tea, performing live music with drums and guitars, screen printing T-shirts and simply hanging out. It’s a message clearly conveyed by Cheung and Ramirez that skateboarding is about so much more than the contests and tricks you can land. Skate culture is about friendship, community and liberation from social norms. \u003c/p>\n\u003cp>Thinking more widely, skate culture is also about place, resistance and politics. Yes, you’ll see copies of more mainstream skate magazines like \u003ci>Thrasher\u003c/i> in the exhibition’s collection, but you’ll also see political banners, zines and other works of art that tie skateboarding and direct action together. One page of art hanging on a wall reads, “Trans rights are human rights!” while another calls for a free Palestine. \u003c/p>\n\u003cfigure id=\"attachment_13963573\" 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/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg\" alt=\"close-up of wall covered in art, zines and flyers\" width=\"2000\" height=\"1546\" class=\"size-full wp-image-13963573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1536x1187.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1920x1484.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to freedom and community, this collection is about love. Videos of skaters holding hands and skating in tandem, handwritten messages of “I love my trans friends” on a skatepark box, and photos of skaters smiling are all evidence of just how deeply enriching and loving skate communities can be for their members, especially for those from marginalized communities. And just as much as it is a dedication of support and love, it’s also the start of an archive, a point to look back on to measure how far skating has come in terms of inclusion and intersectionality. \u003c/p>\n\u003cp>Whether you’re a skater or not, you’ll definitely want to spend a little extra time in this exhibition really absorbing how skate culture has been, and continues to be, shaped by lenses like race, class and gender. And for those who are a little more up to snuff on skate history and figures, there are plenty of Easter eggs in the show. If you look closely enough, you may catch a glimpse of skate legends Cara-Beth Burnside, Mariah Duran, Jenn Soto and others who haven’t so much paved the way as they have ollied over it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>’ is on view at the San Francisco Museum of Modern Art through April 27, 2025.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The show curated by Jeffrey Cheung and Gabriel Ramirez is an ode to tight-knit skating communities.","status":"publish","parent":0,"modified":1726700725,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":989},"headData":{"title":"‘Unity Through Skateboarding’: A Vivid Show at SFMOMA | KQED","description":"The show curated by Jeffrey Cheung and Gabriel Ramirez is an ode to tight-knit skating communities.","ogTitle":"SFMOMA’s ‘Unity Through Skateboarding’ Celebrates BIPOC, Queer and Trans Skaters","ogDescription":"","ogImgId":"","twTitle":"SFMOMA’s ‘Unity Through Skateboarding’ Celebrates BIPOC, Queer and Trans Skaters","twDescription":"","twImgId":"","socialTitle":"‘Unity Through Skateboarding’: A Vivid Show at SFMOMA %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA’s ‘Unity Through Skateboarding’ Celebrates BIPOC, Queer and Trans Skaters","datePublished":"2024-09-03T13:09:40-07:00","dateModified":"2024-09-18T16:05:25-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13963560","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963560/sfmoma-unity-through-skateboarding-bipoc-queer-trans-skaters","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>All of us can easily picture what a skateboard looks like. Four wheels below a wooden deck with all the fixings (trucks, baseplates, risers, bushings, you get the gist) that create an instantly recognizable mode of transportation, source of fun and personalized style. But for anyone who has never been part of a skate community or skated in a contest, cultural knowledge about the sport usually stops there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961542","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Jeffrey Cheung and Gabriel Ramirez, founders of local skate collective \u003ca href=\"https://www.instagram.com/unityskateboarding/\">Unity\u003c/a> and now guest curators at the San Francisco Museum of Modern Art. Their new vivid installation, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>\u003c/i>, celebrates queer, trans, BIPOC and women skaters of the past and present, including the tight-knit communities they form. \u003c/p>\n\u003cp>Although the exhibition takes up only two rooms, Cheung and Ramirez have packed every inch of space with their collection. One of the first things you notice when you walk into the space is just how much vibrant color you’re surrounded by. Hanging in four neat rows on the wall in the first room of the exhibition are more than 30 skate decks, each featuring original painted artwork. Some of Cheung’s own artwork, which portrays bodies of all sizes, colors and shapes interwoven together on Unity skateboards, appears alongside designs by skaters like \u003ca href=\"https://www.instagram.com/mimiknoop/?hl=en\">Mimi Knoop\u003c/a> and the Oakland artist and skater \u003ca href=\"https://www.instagram.com/marbie.princess/\">Marbie\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13963571\" 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/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg\" alt=\"White wall with grid of vertically arranged skate decks\" width=\"2000\" height=\"1422\" class=\"size-full wp-image-13963571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1920x1365.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposing wall, you’ll find large banners and smaller pieces of artwork containing bits of typed reflections, handwritten announcements and pages of zines. In the center of the room is a large glass display case featuring copies of skate magazines with prominent skaters from across the globe on the covers. It’s a good reminder of just how far skate culture and community can reach, from the Bay Area, to Chicago’s \u003ca href=\"https://www.froskate.com/\">froSkate\u003c/a>, and even overseas in places like Ethiopia and the Philippines. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The installation comes at a time when skateboarding’s popularity, especially among young women and queer skaters, is higher than ever. Internationally, skaters like Brazil’s Rayssa Leal and Japan’s Cocona Hiraki have helped boost the sport in their home countries and on international stages like the Summer Olympics and X Games. In the United States, notable skaters like Alexis Sablone and Bryce Wettstein, combined with opportunities and support from skate groups like \u003ca href=\"https://www.girlisnota4letterword.com/\">Girl Is NOT A 4 Letter Word\u003c/a>, \u003ca href=\"https://www.skatelikeagirl.com/\">Skate Like a Girl\u003c/a> and Unity have helped propel skaters of all backgrounds and identities into the sport. \u003c/p>\n\u003cp>\u003ci>Unity Through Skateboarding\u003c/i> is not only a collection, it’s an ode to these BIPOC, queer, trans and women skaters. That was evident as I entered the second room of the installation, which features three full walls of photos and portraits, a skate box covered in handwritten, heartfelt messages and artwork, and six television screens stacked two high, running multiple skate tapes on a loop. \u003c/p>\n\u003cfigure id=\"attachment_13963570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg\" alt=\"two images of femme skaters doing tricks, one in black-and-white, one in color\" width=\"2000\" height=\"1460\" class=\"size-full wp-image-13963570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1920x1402.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Kevin Thatcher, ‘Stephanie Person, Boneless, Derby Skatepark, Santa Cruz,’ 1985; R: Sean Carabarin, ‘Cher Strauberry, Slappy at Bricks,’ 2021. \u003ccite>(Courtesy Thrasher Magazine and Unity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The skate footage stuck out to me in particular; it really is an act of love to be filmed by someone else while skateboarding. A skate video means someone cares enough to make sure your every attempt at a new trick is captured at a good angle and in decent lighting. It means you have someone who can film police officers who try to detain and immobilize skaters, as some of the clips show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963016","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What makes these videos stand out, too, is that the tapes also include non-skating activities: skaters drinking tea, performing live music with drums and guitars, screen printing T-shirts and simply hanging out. It’s a message clearly conveyed by Cheung and Ramirez that skateboarding is about so much more than the contests and tricks you can land. Skate culture is about friendship, community and liberation from social norms. \u003c/p>\n\u003cp>Thinking more widely, skate culture is also about place, resistance and politics. Yes, you’ll see copies of more mainstream skate magazines like \u003ci>Thrasher\u003c/i> in the exhibition’s collection, but you’ll also see political banners, zines and other works of art that tie skateboarding and direct action together. One page of art hanging on a wall reads, “Trans rights are human rights!” while another calls for a free Palestine. \u003c/p>\n\u003cfigure id=\"attachment_13963573\" 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/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg\" alt=\"close-up of wall covered in art, zines and flyers\" width=\"2000\" height=\"1546\" class=\"size-full wp-image-13963573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1536x1187.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1920x1484.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to freedom and community, this collection is about love. Videos of skaters holding hands and skating in tandem, handwritten messages of “I love my trans friends” on a skatepark box, and photos of skaters smiling are all evidence of just how deeply enriching and loving skate communities can be for their members, especially for those from marginalized communities. And just as much as it is a dedication of support and love, it’s also the start of an archive, a point to look back on to measure how far skating has come in terms of inclusion and intersectionality. \u003c/p>\n\u003cp>Whether you’re a skater or not, you’ll definitely want to spend a little extra time in this exhibition really absorbing how skate culture has been, and continues to be, shaped by lenses like race, class and gender. And for those who are a little more up to snuff on skate history and figures, there are plenty of Easter eggs in the show. If you look closely enough, you may catch a glimpse of skate legends Cara-Beth Burnside, Mariah Duran, Jenn Soto and others who haven’t so much paved the way as they have ollied over it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>’ is on view at the San Francisco Museum of Modern Art through April 27, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963560/sfmoma-unity-through-skateboarding-bipoc-queer-trans-skaters","authors":["11919"],"programs":["arts_140"],"categories":["arts_1","arts_13238","arts_70"],"tags":["arts_10342","arts_10278","arts_769","arts_1381","arts_1442","arts_585"],"featImg":"arts_13963572","label":"source_arts_13963560"},"arts_13963491":{"type":"posts","id":"arts_13963491","meta":{"index":"posts_1716263798","site":"arts","id":"13963491","score":null,"sort":[1725061579000]},"guestAuthors":[],"slug":"ica-san-francisco-contemporary-art-museum-trump-financial-district","title":"San Francisco Art Museum to Move Into Building Co-Owned by Trump","publishDate":1725061579,"format":"standard","headTitle":"San Francisco Art Museum to Move Into Building Co-Owned by Trump | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"The ICA San Francisco will move into a new, rent-free space at 345 Montgomery St. in the Financial District.","status":"publish","parent":0,"modified":1725381399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":586},"headData":{"title":"San Francisco Art Museum to Move Into Building Co-Owned by Trump | KQED","description":"The ICA San Francisco will move into a new, rent-free space at 345 Montgomery St. in the Financial District.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Art Museum to Move Into Building Co-Owned by Trump","datePublished":"2024-08-30T16:46:19-07:00","dateModified":"2024-09-03T09:36:39-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963491","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963491/ica-san-francisco-contemporary-art-museum-trump-financial-district","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963491/ica-san-francisco-contemporary-art-museum-trump-financial-district","authors":["61","11743"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_820","arts_22291","arts_1753","arts_10342","arts_10278","arts_3648","arts_1146","arts_901"],"featImg":"arts_13963513","label":"arts"},"arts_13963280":{"type":"posts","id":"arts_13963280","meta":{"index":"posts_1716263798","site":"arts","id":"13963280","score":null,"sort":[1724866638000]},"guestAuthors":[],"slug":"porte-blindado-corridos-sierreno-reginal-mexican-music-oakland-bay-area","title":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets","publishDate":1724866638,"format":"standard","headTitle":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/porteblindado/\">Porte Blindado\u003c/a> are locked in. At least three times a week, the four young musicians haul amps, guitars and an upright bass into a small warehouse tucked between window-tinting shops and mechanics’ garages in Deep East Oakland. This is where vocalist Andres “AR” Rosillo, guitarists Pedro “Peaz” Zamora and Jemmiel Moore and upright bassist Luis Hernandez come together to perfect their distinctly Bay Area take on Mexican regional music.\u003c/p>\n\u003cp>“I feel like growing up and being born in the Bay area, we talk a certain way, dress a certain way, so the norm is very different when you go play in a grupo and they see you show up in some T-shirts and sneakers, compared to the traditional sombrero and botas,” says Peaz, who’s sporting Jordans and an A’s hat with a braided rat tail sticking out. “Our version catches a lot of people off guard, like, ‘Who are these kids?’”\u003c/p>\n\u003cp>“But you are who you are at the end of the day,” he adds with a shrug. “Sometimes you gotta let the norm change with you.”\u003c/p>\n\u003cfigure id=\"attachment_13962831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado practice in a warehouse space in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While high-drama corridos, brass-heavy banda and sierreño ballads have been in heavy rotation in Mexican American households for generations, a new crop of superstars — including Peso Pluma, Natanael Cano, Junior H and \u003ca href=\"https://www.kqed.org/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review\">DannyLux\u003c/a> — have reimagined these styles for a younger generation and attracted a global following. Porte Blindado, whose members range from 19 to 23 years old, are following in the footsteps of California bands like Eslabon Armado and Fuerza Regida, who’ve helped bring regional Mexican music into the U.S. mainstream.\u003c/p>\n\u003cp>Before Fuerza Regida got big enough to headline arenas all over the U.S. and Mexico, they were a cover band gigging at private parties in their hometown of San Bernardino. That’s the stage where Porte Blindado currently find themselves: Putting out original material and playing their own shows while sustaining the band financially through quinceñeras, weddings and other privadas.\u003c/p>\n\u003cfigure id=\"attachment_13963281\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg\" alt=\"A close-up of a tattooed hand playing upright bass.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado’s bassist Luis Hernandez practices in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corridos are all about telling a good story, and although Porte Blindado have yet to release a debut album, they’ve built up momentum this year through a \u003ca href=\"https://open.spotify.com/artist/5cZT2KvkWM3z9GC4hMYPlX\">consistent stream of singles\u003c/a> that have a hard edge, with Spanish-language lyrics whose themes often overlap with Bay Area rap. The group’s songwriting is exhilarating on “\u003ca href=\"https://open.spotify.com/track/11WVcyBnWVAnO8u5kQueAg?si=bad08373211c483d\">Es Talento\u003c/a>,” where AR narrates a hair-raising tale of a cannabis warehouse robbery while Moore and Zamora shred on dueling guitars and Hernandez slaps his bass like his life depends on it. Their irreverent and supremely catchy track “\u003ca href=\"https://open.spotify.com/track/28O2oUxDMABNkm9D7GgblB?si=3e80fd1850e24a92\">Mi Madre Dice\u003c/a>” revels in the dark side of street life. Meanwhile, “\u003ca href=\"https://open.spotify.com/track/1kRDuMj6AabVs6L7e6GU5V?si=55f0acedaae340d0\">Gorrita de Fox\u003c/a>” is an anthem about showing out in style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cg3YtnDUYgk?si=fMQIQ61LW5adp-qL\u003c/p>\n\u003cp>“I feel like a lot of people can relate,” says AR. “We definitely write with that Bay Area vibe.”\u003c/p>\n\u003cp>The band members have a playful, brotherly camaraderie as they joke around and share curly fries before a recent rehearsal, but when they take out their instruments, they’re intensely focused. Like a lot of people who grew up in the multicultural Bay Area, they share an eclectic music taste, name-checking Atlanta trap star Lil Baby and San Francisco guitar god Carlos Santana as influences that push them to keep evolving.\u003c/p>\n\u003cp>“We got closer because of the music,” says bassist Hernandez, the youngest member and unofficial comedian of the group.\u003c/p>\n\u003cfigure id=\"attachment_13963282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead guitarist Moore, the only band member who isn’t Chicano, found his way to Mexican regional music from jazz and heavy metal. “One day in class, I had some friends come up to me like, ‘Hey, try this genre out.’ First I was like, ‘I don’t even know what they’re saying,’” he says.\u003c/p>\n\u003cp>Despite the language barrier, he fell in love with Mexican regional music and realized his perspective — and nimble solos honed by studying jazz scales — could actually become a strength. “Our style is different. That’s what makes us unique,” says Moore. “Especially for me, I like to try to implement different types of genres into my style.” [aside postid='arts_13953430']\u003c/p>\n\u003cp>As the young regional Mexican music scene continues to grow in the Bay Area, Porte Blindado is collaborating with peers like Reyes Del Trono, who add a tuba bounce to their joint single “\u003ca href=\"https://open.spotify.com/track/2fcY0GqGUyQQkI46ftNKqO?si=b1562980a84e45d2\">Soy y Sere\u003c/a>.” (Reyes Del Trono recently did a live set at the Oakland Ballers’ first-ever Latine heritage night baseball game.) Another local band, Clave 77, recently joined Porte Blindado for the high-energy, guitar- and horn-forward duet “\u003ca href=\"https://open.spotify.com/track/1PYnwflk3YzGnc6tYKXulS?si=da8280354eb349a0\">Pura Calidad\u003c/a>.”\u003c/p>\n\u003cp>The members of Porte Blindado have an intuition for marketing, and a few of their \u003ca href=\"https://www.tiktok.com/@porteblindado\">TikToks\u003c/a> — including one of AR getting kicked out of a mall while playing “Mi Madre Dice” on guitar — have gone viral, helping them expand their following outside the Bay. Their next gig is at the banda festival \u003ca href=\"https://www.instagram.com/gentenueva.promotions/p/C-rFt2Zv6iw/?img_index=1\">Maniaco Fest\u003c/a> in Hollister, just south of Gilroy, on Aug. 30, and in September they plan on making a trip down south for a Los Angeles show.\u003c/p>\n\u003cp>https://youtu.be/FjQfe3jdKz0?si=yZn7HgRkNX6a_Csa\u003c/p>\n\u003cp>East Oakland is where it all started, though, and at a recent free show in Fruitvale put on by Communities United for Restorative Youth Justice, Porte Blindado got to feel the love from their hometown crowd. “Afterwards it was hella cool, all the kids were taking pictures with us,” AR recalls with a smile. “‘Oh, peace sign!’ We had to throw hella peace signs.”\u003c/p>\n\u003cp>It’s moments like those that remind Porte Blindado why they spend countless hours a week practicing. Why they carve out time between their day jobs of working construction and painting houses to perfect a craft that’s rooted in tradition but has forward motion, transcending cultures and generations.\u003c/p>\n\u003cp>“We have so much that we want to get done as a group,” says Peaz. “I feel like we’re hungry for it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We just getting started,” adds AR. “Buckle up, because this gon’ be a ride.”\u003c/p>\n\n","blocks":[],"excerpt":"The young band’s nontraditional take on regional Mexican music is gaining traction beyond the Bay.","status":"publish","parent":0,"modified":1725381366,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1113},"headData":{"title":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets | KQED","description":"The young band’s nontraditional take on regional Mexican music is gaining traction beyond the Bay.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets","datePublished":"2024-08-28T10:37:18-07:00","dateModified":"2024-09-03T09:36:06-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963280","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963280/porte-blindado-corridos-sierreno-reginal-mexican-music-oakland-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/porteblindado/\">Porte Blindado\u003c/a> are locked in. At least three times a week, the four young musicians haul amps, guitars and an upright bass into a small warehouse tucked between window-tinting shops and mechanics’ garages in Deep East Oakland. This is where vocalist Andres “AR” Rosillo, guitarists Pedro “Peaz” Zamora and Jemmiel Moore and upright bassist Luis Hernandez come together to perfect their distinctly Bay Area take on Mexican regional music.\u003c/p>\n\u003cp>“I feel like growing up and being born in the Bay area, we talk a certain way, dress a certain way, so the norm is very different when you go play in a grupo and they see you show up in some T-shirts and sneakers, compared to the traditional sombrero and botas,” says Peaz, who’s sporting Jordans and an A’s hat with a braided rat tail sticking out. “Our version catches a lot of people off guard, like, ‘Who are these kids?’”\u003c/p>\n\u003cp>“But you are who you are at the end of the day,” he adds with a shrug. “Sometimes you gotta let the norm change with you.”\u003c/p>\n\u003cfigure id=\"attachment_13962831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado practice in a warehouse space in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While high-drama corridos, brass-heavy banda and sierreño ballads have been in heavy rotation in Mexican American households for generations, a new crop of superstars — including Peso Pluma, Natanael Cano, Junior H and \u003ca href=\"https://www.kqed.org/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review\">DannyLux\u003c/a> — have reimagined these styles for a younger generation and attracted a global following. Porte Blindado, whose members range from 19 to 23 years old, are following in the footsteps of California bands like Eslabon Armado and Fuerza Regida, who’ve helped bring regional Mexican music into the U.S. mainstream.\u003c/p>\n\u003cp>Before Fuerza Regida got big enough to headline arenas all over the U.S. and Mexico, they were a cover band gigging at private parties in their hometown of San Bernardino. That’s the stage where Porte Blindado currently find themselves: Putting out original material and playing their own shows while sustaining the band financially through quinceñeras, weddings and other privadas.\u003c/p>\n\u003cfigure id=\"attachment_13963281\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg\" alt=\"A close-up of a tattooed hand playing upright bass.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado’s bassist Luis Hernandez practices in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corridos are all about telling a good story, and although Porte Blindado have yet to release a debut album, they’ve built up momentum this year through a \u003ca href=\"https://open.spotify.com/artist/5cZT2KvkWM3z9GC4hMYPlX\">consistent stream of singles\u003c/a> that have a hard edge, with Spanish-language lyrics whose themes often overlap with Bay Area rap. The group’s songwriting is exhilarating on “\u003ca href=\"https://open.spotify.com/track/11WVcyBnWVAnO8u5kQueAg?si=bad08373211c483d\">Es Talento\u003c/a>,” where AR narrates a hair-raising tale of a cannabis warehouse robbery while Moore and Zamora shred on dueling guitars and Hernandez slaps his bass like his life depends on it. Their irreverent and supremely catchy track “\u003ca href=\"https://open.spotify.com/track/28O2oUxDMABNkm9D7GgblB?si=3e80fd1850e24a92\">Mi Madre Dice\u003c/a>” revels in the dark side of street life. Meanwhile, “\u003ca href=\"https://open.spotify.com/track/1kRDuMj6AabVs6L7e6GU5V?si=55f0acedaae340d0\">Gorrita de Fox\u003c/a>” is an anthem about showing out in style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cg3YtnDUYgk'\n title='//www.youtube.com/embed/cg3YtnDUYgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I feel like a lot of people can relate,” says AR. “We definitely write with that Bay Area vibe.”\u003c/p>\n\u003cp>The band members have a playful, brotherly camaraderie as they joke around and share curly fries before a recent rehearsal, but when they take out their instruments, they’re intensely focused. Like a lot of people who grew up in the multicultural Bay Area, they share an eclectic music taste, name-checking Atlanta trap star Lil Baby and San Francisco guitar god Carlos Santana as influences that push them to keep evolving.\u003c/p>\n\u003cp>“We got closer because of the music,” says bassist Hernandez, the youngest member and unofficial comedian of the group.\u003c/p>\n\u003cfigure id=\"attachment_13963282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead guitarist Moore, the only band member who isn’t Chicano, found his way to Mexican regional music from jazz and heavy metal. “One day in class, I had some friends come up to me like, ‘Hey, try this genre out.’ First I was like, ‘I don’t even know what they’re saying,’” he says.\u003c/p>\n\u003cp>Despite the language barrier, he fell in love with Mexican regional music and realized his perspective — and nimble solos honed by studying jazz scales — could actually become a strength. “Our style is different. That’s what makes us unique,” says Moore. “Especially for me, I like to try to implement different types of genres into my style.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953430","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the young regional Mexican music scene continues to grow in the Bay Area, Porte Blindado is collaborating with peers like Reyes Del Trono, who add a tuba bounce to their joint single “\u003ca href=\"https://open.spotify.com/track/2fcY0GqGUyQQkI46ftNKqO?si=b1562980a84e45d2\">Soy y Sere\u003c/a>.” (Reyes Del Trono recently did a live set at the Oakland Ballers’ first-ever Latine heritage night baseball game.) Another local band, Clave 77, recently joined Porte Blindado for the high-energy, guitar- and horn-forward duet “\u003ca href=\"https://open.spotify.com/track/1PYnwflk3YzGnc6tYKXulS?si=da8280354eb349a0\">Pura Calidad\u003c/a>.”\u003c/p>\n\u003cp>The members of Porte Blindado have an intuition for marketing, and a few of their \u003ca href=\"https://www.tiktok.com/@porteblindado\">TikToks\u003c/a> — including one of AR getting kicked out of a mall while playing “Mi Madre Dice” on guitar — have gone viral, helping them expand their following outside the Bay. Their next gig is at the banda festival \u003ca href=\"https://www.instagram.com/gentenueva.promotions/p/C-rFt2Zv6iw/?img_index=1\">Maniaco Fest\u003c/a> in Hollister, just south of Gilroy, on Aug. 30, and in September they plan on making a trip down south for a Los Angeles show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FjQfe3jdKz0'\n title='//www.youtube.com/embed/FjQfe3jdKz0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>East Oakland is where it all started, though, and at a recent free show in Fruitvale put on by Communities United for Restorative Youth Justice, Porte Blindado got to feel the love from their hometown crowd. “Afterwards it was hella cool, all the kids were taking pictures with us,” AR recalls with a smile. “‘Oh, peace sign!’ We had to throw hella peace signs.”\u003c/p>\n\u003cp>It’s moments like those that remind Porte Blindado why they spend countless hours a week practicing. Why they carve out time between their day jobs of working construction and painting houses to perfect a craft that’s rooted in tradition but has forward motion, transcending cultures and generations.\u003c/p>\n\u003cp>“We have so much that we want to get done as a group,” says Peaz. “I feel like we’re hungry for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We just getting started,” adds AR. “Buckle up, because this gon’ be a ride.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963280/porte-blindado-corridos-sierreno-reginal-mexican-music-oakland-bay-area","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_5747","arts_21992"],"featImg":"arts_13962830","label":"arts"},"arts_13962624":{"type":"posts","id":"arts_13962624","meta":{"index":"posts_1716263798","site":"arts","id":"13962624","score":null,"sort":[1724158845000]},"guestAuthors":[],"slug":"involuntary-servitude-california-prop-6-san-quentin","title":"A Future Without Involuntary Servitude? In California, It's Long Overdue","publishDate":1724158845,"format":"standard","headTitle":"A Future Without Involuntary Servitude? In California, It’s Long Overdue | KQED","labelTerm":{},"content":"\u003cp>[dropcap]T[/dropcap]he idea of prison labor was on my mind as I visited San Quentin last weekend.\u003c/p>\n\u003cp>After going through security, I and two dozen other journalists walked past the lower yard, where men in boxing gloves threw combos at each other and hoopers in grey shorts shot free throws. We spent hours at the prison’s media center watching film clips and listening to podcasts made by folks behind bars, like \u003ca href=\"https://www.earhustlesq.com/?gad_source=1&gclid=Cj0KCQjw2ou2BhCCARIsANAwM2HHbkxlgrsGFB8htH1leiwIFl30CuIge-JTdVTFhvjoUgwPb1pt5bQaAnZTEALw_wcB\" target=\"_blank\" rel=\"noopener\">\u003cem>Ear Hustle\u003c/em>\u003c/a> and \u003ca href=\"https://www.weareuncuffed.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Uncuffed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">And during the lunch break, I asked a few people who are incarcerated about jobs in the prison.\u003c/p>\n\u003cp>One man told me he works in the media center for just 11¢ an hour. Another said he makes 14¢ an hour. Some teachers who lead programs don’t get paid at all. One person said he appreciates the structure employment brings, and noted that no matter how little it pays, any type of program or job is beneficial when it’s time to ask for parole.\u003c/p>\n\u003cp>Some people were happy that\u003ca href=\"https://www.cdcr.ca.gov/regulations/wp-content/uploads/sites/171/2024/04/Inmate-Pay_Approval.pdf\" target=\"_blank\" rel=\"noopener\"> the CDCR raised pay rates for incarcerated laborers in April\u003c/a>, an increase from 32¢-37¢ an hour to 64¢-74¢ an hour. (The cover of July’s print edition of \u003cem>The San Quentin News\u003c/em> had a story about one negative impact of the pay raise: less jobs.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past, I interviewed a woman who repaired the industrial-sized laundry dryers at the California Institution for Women in Chino while incarcerated. While teaching at Vacaville’s California Medical Facility, I met a man who did landscaping in front of the prison’s religious buildings. There’s a meat cutting facility at Mule Creek State Prison, and a poultry processing enterprise at Avenal State Prison.\u003c/p>\n\u003cp>Behind bars in California, people make everything from socks to American flags.\u003c/p>\n\u003cp>There’s plenty of potential occupations for people who are incarcerated. Some jobs are underpaid, and some don’t pay at all. But legally, every able-bodied person is supposed to work. It’s written in the state’s constitution as a form of “involuntary servitude” — or, as many see it: slavery.\u003c/p>\n\u003cp>This fall, if passed by voters, Prop. 6 would amend the state’s constitution to no longer require people who are incarcerated to work. Finally, 160 years after President Lincoln signed the Emancipation Proclamation, we have the opportunity to put an end to a direct remnant of this country’s most inhumane system.\u003c/p>\n\u003cp>How did we get here? Let’s start at the top: the federal government. As you might have learned in history class, \u003ca href=\"https://constitution.congress.gov/browse/essay/amdt13-S1-1/ALDE_00000992/#:~:text=Thirteenth%20Amendment%2C%20Section%201%3A,place%20subject%20to%20their%20jurisdiction.\">the 13th Amendment\u003c/a> ended slavery, right? Well, no.\u003c/p>\n\u003cp>It states:\u003c/p>\n\u003cblockquote>\u003cp>Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.\u003c/p>\u003c/blockquote>\n\u003cp>That exception (“except as punishment for crime”) creates a loophole for states to force people who are incarcerated to work without compensation.\u003c/p>\n\u003cp>The application of this exception varies from state to state. California is \u003ca href=\"https://ballotpedia.org/California_Proposition_6,_Remove_Involuntary_Servitude_as_Punishment_for_Crime_Amendment_(2024)#Support\">one of eight states\u003c/a> where involuntary servitude is still a legal form of punishment for a crime. (There are eight other states where it’s explicitly stated that “slavery,” verbatim, is a legal punishment for a crime.)\u003c/p>\n\u003cp>With \u003ca href=\"https://www.prisonpolicy.org/profiles/CA.html\">nearly 200,000 people behind bars\u003c/a>, California has the most populous incarceration system of all 16 states where this form of punishment is legal. That massive amount of people working for free, or in some cases \u003ca href=\"https://www.kqed.org/news/11983846/state-prisons-offset-new-inmate-wage-hikes-by-cutting-hours-for-some-workers\" target=\"_blank\" rel=\"noopener\">a few cents per hour\u003c/a>, plays a valuable part in the Golden State’s economic system — one that generates the \u003ca href=\"https://www.statista.com/statistics/187834/gdp-of-the-us-federal-state-of-california-since-1997/#:~:text=U.S.%20real%20GDP%20of%20California%202000%2D2023&text=In%202023%2C%20the%20real%20gross,at%203.23%20trillion%20U.S.%20dollars.\">third-highest GDP\u003c/a> in the United States.\u003c/p>\n\u003cp>Now consider that African Americans account for nearly one-third of all incarcerated people, but only 5% of the state’s total population. Do you start to see how slavery, far from being abolished, is actually alive and well?\u003c/p>\n\u003cfigure id=\"attachment_13962659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962659\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13%E2%80%AFAM-800x573.png\" alt=\"Members of Legal Services for Prisoners with Children pose for a photo outside of the California State Capitol Building in Sacramento. \" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1536x1100.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-2048x1466.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1920x1374.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Legal Services for Prisoners with Children pose for a photo in San Diego at the Democratic Executive Board Meeting on the day Rep. Maxine Waters officially supported the bill that is now Prop. 6. \u003ccite>(Courtesy of Dr. Tanisha Cannon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]“W[/dropcap]e’re not just simply trying to change the language,” says Paul Briley, Executive Director of Legal Services for Prisoners with Children, of involuntary servitude. “We want to change the practice.”\u003c/p>\n\u003cp>During a recent video chat, Briley gave me a bit of a history lesson on the roots of the issue in California.\u003c/p>\n\u003cp>It starts with California’s first governor, \u003ca href=\"https://www.npr.org/2020/07/15/891563719/peter-hardeman-burnett-californias-1st-governor-and-a-noted-racist\" target=\"_blank\" rel=\"noopener\">Peter Hardeman Burnett\u003c/a>, a noted racist and slave owner originally from Tennessee. Burnett got into California politics on the tail end of the Gold Rush, after leaving Oregon, where he was also politically involved. While in Oregon, he helped the state legislature establish \u003ca href=\"https://sos.oregon.gov/archives/exhibits/black-history/Pages/context/slavery.aspx#:~:text=The%20Oregon%20Lash%20Law&text=The%20next%20year%2C%20Peter%20Burnett,the%20slaves%20would%20be%20freed.\" target=\"_blank\" rel=\"noopener\">a lash law\u003c/a>, which required people of African descent to leave the state or else face punishment in the form of whippings.\u003c/p>\n\u003cp>“(Burnett) wanted to create a white-only west,” says Briley, adding that Burnett also advocated for California’s \u003ca href=\"https://www.kqed.org/news/11905371/california-celebrates-its-history-as-a-free-state-but-there-was-slavery-here\" target=\"_blank\" rel=\"noopener\">Fugitive Slave Law\u003c/a>, which put Black residents who’d escaped slavery at high risk of being sent back to Southern slave states. The underlying ambition of the law, Briley says, was to keep this new state’s Black population to a minimum.\u003c/p>\n\u003cp>In 1852, the same year California passed its Fugitive Slave Law, the state also established its first mainland prison, San Quentin.\u003c/p>\n\u003cp>“There’s a direct correlation between slavery and mass incarceration,” notes Briley. And so — aiming to abolish not just the language but the practice — “that’s at the core of our mission: dismantling the entire prison industrial complex.”\u003c/p>\n\u003cp>[aside postID='arts_13926813']While the Fugitive Slave Law expired after three years, the state of California’s constitution still allowed for involuntary servitude, which stands to this day.\u003c/p>\n\u003cp>The mere allowance for involuntary servitude isn’t the only issue. The enforcement of involuntary servitude is problematic, too. This is outlined in California Department of Corrections and Rehabilitation’s (CDCR) \u003ca href=\"https://codes.findlaw.com/ca/penal-code/pen-sect-2700/#:~:text=The%20Department%20of%20Corrections%20shall,of%20the%20Director%20of%20Corrections.\" target=\"_blank\" rel=\"noopener\">Penal Code 2700\u003c/a>, which dictates that every able-bodied incarcerated person must work. Whether waylaid by sickness, grief or other serious issues, people behind bars in this state must work or else face \u003ca href=\"https://www.shouselaw.com/ca/blog/cdcr-form-115-discipline-report/\" target=\"_blank\" rel=\"noopener\">a Form 115 discipline report\u003c/a>, a write-up added to their record, potentially resulting in a longer prison sentence.\u003c/p>\n\u003cp>“We’re not only trying to change the constitution, we’re not focused on symbolism,” says Lawrence Cox, during the same video call. Cox is the Regional Advocacy and Organizing Associate with the social justice nonprofit \u003ca href=\"https://prisonerswithchildren.org/about-aouon/\" target=\"_blank\" rel=\"noopener\">All of Us or None\u003c/a>, an organization working “to create an airtight solution that prevents the exploitation of individuals who are incarcerated.”\u003c/p>\n\u003cp>The larger goal, Cox adds, is to separate the prison industrial complex from the rehabilitative apparatus of corrections. Which is significant to the CDCR, as \u003ca href=\"http://www.allgov.com/usa/ca/departments/independent-agencies/department_of_corrections_and_rehabilitation?agencyid=223\" target=\"_blank\" rel=\"noopener\">the organization made it a point to add “rehabilitation” to their title in 2004\u003c/a>.\u003c/p>\n\u003cp>“Rehab is about autonomy,” says Cox, adding that “healing from the traumas that may have caused individuals to commit the crimes that they’ve committed… has nothing to do with forced slavery.”\u003c/p>\n\u003cfigure id=\"attachment_13962773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin State Prison in San Quentin on July 26, 2023. In March, California Governor Gavin Newsom announced that the state would seek to transform the maximum security prison into a center focused on the rehabilitation of incarcerated individuals. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n addition to the lack of choice, the conditions incarcerated people are forced to work under are often perilous. Electricians work with live power lines that feed electricity to prisons, and firefighters work on the dangerous frontlines of wildfires. Much of this work is done with a severe lack of support for workers’ rights.\u003c/p>\n\u003cp>In June, the California Division of Occupational Safety and Health (CAL/OSHA) agreed to \u003ca href=\"https://www.dir.ca.gov/dosh/heatillnessinfo.html\" target=\"_blank\" rel=\"noopener\">new guidelines regarding the rights of indoor workers\u003c/a> at workplaces where temperatures reach 82 degrees or above. It’s an important measure, enacted during a changing climate, when everyone is impacted by increasing temperatures. The problem is: \u003ca href=\"https://www.dir.ca.gov/oshsb/documents/Indoor-Heat-updated-txtbrdconsider.pdf\" target=\"_blank\" rel=\"noopener\">the legislation explicitly excludes people behind bars\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://prisonerswithchildren.org/staff-and-board/\" target=\"_blank\" rel=\"noopener\">Dr. Tanisha Cannon\u003c/a>, Managing Director of Legal Services for Prisoners with Children, believes that the labor done by incarcerated people, unpaid or underpaid, should technically qualify them as state workers. But they don’t receive any benefits or Social Security.\u003c/p>\n\u003cp>“Folks can work in state prison for 20 years,” says Cannon, “and then they get released and come home to $200 gate money.”\u003c/p>\n\u003cp>[aside postID='arts_13962094']Cannon notes that the $200 gate money that the state gives people who’ve been incarcerated hasn’t changed since the 1970s. In Northern California, she adds, $200 covers about a week’s worth of groceries.\u003c/p>\n\u003cp>“If these jobs didn’t exist inside of prisons, (the state would) have to hire more COs and more electricians to run the prison,” says Cannon. “Prisoners are really running the prison system.”\u003c/p>\n\u003cp>And they aren’t getting paid fairly for it.\u003c/p>\n\u003cp>It’s important for everyone to vote, Cannon emphasizes. She wants to be clear that people with felonies, as well as incarcerated people in California, can vote. (\u003ca href=\"https://www.sos.ca.gov/elections/voting-rights-restored\">Registering and obtaining a ballot\u003c/a> is another hurdle.)\u003c/p>\n\u003cp>Given the theatrics of this year’s presidential election, Cannon understands how people can grow disenfranchised with the electoral process. Nevertheless, she and other advocates are still encouraging people to vote, “because there are some things on this ballot that are going to directly impact you and your community,” says Cannon.\u003c/p>\n\u003cp>And when it comes to voting on involuntary servitude and Prop. 6, Cannon says it’s particularly important, considering that the state has extracted wealth from Black communities for hundreds of years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If these same folks that are producing the labor were getting paid,” says Cannon, “this would extract wealth from those larger companies, and reinvest it in our communities.”\u003c/p>\n\n","blocks":[],"excerpt":"California has the chance to repeal a direct remnant of slavery. Who could possibly be against it?","status":"publish","parent":0,"modified":1726700850,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1714},"headData":{"title":"A Future Without Involuntary Servitude? In California, It's Long Overdue | KQED","description":"California has the chance to repeal a direct remnant of slavery. Who could possibly be against it?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Future Without Involuntary Servitude? In California, It's Long Overdue","datePublished":"2024-08-20T06:00:45-07:00","dateModified":"2024-09-18T16:07:30-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary","sourceUrl":"https://www.kqed.org/artscommentary","sticky":false,"nprStoryId":"kqed-13962624","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962624/involuntary-servitude-california-prop-6-san-quentin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he idea of prison labor was on my mind as I visited San Quentin last weekend.\u003c/p>\n\u003cp>After going through security, I and two dozen other journalists walked past the lower yard, where men in boxing gloves threw combos at each other and hoopers in grey shorts shot free throws. We spent hours at the prison’s media center watching film clips and listening to podcasts made by folks behind bars, like \u003ca href=\"https://www.earhustlesq.com/?gad_source=1&gclid=Cj0KCQjw2ou2BhCCARIsANAwM2HHbkxlgrsGFB8htH1leiwIFl30CuIge-JTdVTFhvjoUgwPb1pt5bQaAnZTEALw_wcB\" target=\"_blank\" rel=\"noopener\">\u003cem>Ear Hustle\u003c/em>\u003c/a> and \u003ca href=\"https://www.weareuncuffed.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Uncuffed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">And during the lunch break, I asked a few people who are incarcerated about jobs in the prison.\u003c/p>\n\u003cp>One man told me he works in the media center for just 11¢ an hour. Another said he makes 14¢ an hour. Some teachers who lead programs don’t get paid at all. One person said he appreciates the structure employment brings, and noted that no matter how little it pays, any type of program or job is beneficial when it’s time to ask for parole.\u003c/p>\n\u003cp>Some people were happy that\u003ca href=\"https://www.cdcr.ca.gov/regulations/wp-content/uploads/sites/171/2024/04/Inmate-Pay_Approval.pdf\" target=\"_blank\" rel=\"noopener\"> the CDCR raised pay rates for incarcerated laborers in April\u003c/a>, an increase from 32¢-37¢ an hour to 64¢-74¢ an hour. (The cover of July’s print edition of \u003cem>The San Quentin News\u003c/em> had a story about one negative impact of the pay raise: less jobs.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past, I interviewed a woman who repaired the industrial-sized laundry dryers at the California Institution for Women in Chino while incarcerated. While teaching at Vacaville’s California Medical Facility, I met a man who did landscaping in front of the prison’s religious buildings. There’s a meat cutting facility at Mule Creek State Prison, and a poultry processing enterprise at Avenal State Prison.\u003c/p>\n\u003cp>Behind bars in California, people make everything from socks to American flags.\u003c/p>\n\u003cp>There’s plenty of potential occupations for people who are incarcerated. Some jobs are underpaid, and some don’t pay at all. But legally, every able-bodied person is supposed to work. It’s written in the state’s constitution as a form of “involuntary servitude” — or, as many see it: slavery.\u003c/p>\n\u003cp>This fall, if passed by voters, Prop. 6 would amend the state’s constitution to no longer require people who are incarcerated to work. Finally, 160 years after President Lincoln signed the Emancipation Proclamation, we have the opportunity to put an end to a direct remnant of this country’s most inhumane system.\u003c/p>\n\u003cp>How did we get here? Let’s start at the top: the federal government. As you might have learned in history class, \u003ca href=\"https://constitution.congress.gov/browse/essay/amdt13-S1-1/ALDE_00000992/#:~:text=Thirteenth%20Amendment%2C%20Section%201%3A,place%20subject%20to%20their%20jurisdiction.\">the 13th Amendment\u003c/a> ended slavery, right? Well, no.\u003c/p>\n\u003cp>It states:\u003c/p>\n\u003cblockquote>\u003cp>Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.\u003c/p>\u003c/blockquote>\n\u003cp>That exception (“except as punishment for crime”) creates a loophole for states to force people who are incarcerated to work without compensation.\u003c/p>\n\u003cp>The application of this exception varies from state to state. California is \u003ca href=\"https://ballotpedia.org/California_Proposition_6,_Remove_Involuntary_Servitude_as_Punishment_for_Crime_Amendment_(2024)#Support\">one of eight states\u003c/a> where involuntary servitude is still a legal form of punishment for a crime. (There are eight other states where it’s explicitly stated that “slavery,” verbatim, is a legal punishment for a crime.)\u003c/p>\n\u003cp>With \u003ca href=\"https://www.prisonpolicy.org/profiles/CA.html\">nearly 200,000 people behind bars\u003c/a>, California has the most populous incarceration system of all 16 states where this form of punishment is legal. That massive amount of people working for free, or in some cases \u003ca href=\"https://www.kqed.org/news/11983846/state-prisons-offset-new-inmate-wage-hikes-by-cutting-hours-for-some-workers\" target=\"_blank\" rel=\"noopener\">a few cents per hour\u003c/a>, plays a valuable part in the Golden State’s economic system — one that generates the \u003ca href=\"https://www.statista.com/statistics/187834/gdp-of-the-us-federal-state-of-california-since-1997/#:~:text=U.S.%20real%20GDP%20of%20California%202000%2D2023&text=In%202023%2C%20the%20real%20gross,at%203.23%20trillion%20U.S.%20dollars.\">third-highest GDP\u003c/a> in the United States.\u003c/p>\n\u003cp>Now consider that African Americans account for nearly one-third of all incarcerated people, but only 5% of the state’s total population. Do you start to see how slavery, far from being abolished, is actually alive and well?\u003c/p>\n\u003cfigure id=\"attachment_13962659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962659\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13%E2%80%AFAM-800x573.png\" alt=\"Members of Legal Services for Prisoners with Children pose for a photo outside of the California State Capitol Building in Sacramento. \" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1536x1100.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-2048x1466.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1920x1374.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Legal Services for Prisoners with Children pose for a photo in San Diego at the Democratic Executive Board Meeting on the day Rep. Maxine Waters officially supported the bill that is now Prop. 6. \u003ccite>(Courtesy of Dr. Tanisha Cannon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“W\u003c/span>\u003c/p>\u003cp>e’re not just simply trying to change the language,” says Paul Briley, Executive Director of Legal Services for Prisoners with Children, of involuntary servitude. “We want to change the practice.”\u003c/p>\n\u003cp>During a recent video chat, Briley gave me a bit of a history lesson on the roots of the issue in California.\u003c/p>\n\u003cp>It starts with California’s first governor, \u003ca href=\"https://www.npr.org/2020/07/15/891563719/peter-hardeman-burnett-californias-1st-governor-and-a-noted-racist\" target=\"_blank\" rel=\"noopener\">Peter Hardeman Burnett\u003c/a>, a noted racist and slave owner originally from Tennessee. Burnett got into California politics on the tail end of the Gold Rush, after leaving Oregon, where he was also politically involved. While in Oregon, he helped the state legislature establish \u003ca href=\"https://sos.oregon.gov/archives/exhibits/black-history/Pages/context/slavery.aspx#:~:text=The%20Oregon%20Lash%20Law&text=The%20next%20year%2C%20Peter%20Burnett,the%20slaves%20would%20be%20freed.\" target=\"_blank\" rel=\"noopener\">a lash law\u003c/a>, which required people of African descent to leave the state or else face punishment in the form of whippings.\u003c/p>\n\u003cp>“(Burnett) wanted to create a white-only west,” says Briley, adding that Burnett also advocated for California’s \u003ca href=\"https://www.kqed.org/news/11905371/california-celebrates-its-history-as-a-free-state-but-there-was-slavery-here\" target=\"_blank\" rel=\"noopener\">Fugitive Slave Law\u003c/a>, which put Black residents who’d escaped slavery at high risk of being sent back to Southern slave states. The underlying ambition of the law, Briley says, was to keep this new state’s Black population to a minimum.\u003c/p>\n\u003cp>In 1852, the same year California passed its Fugitive Slave Law, the state also established its first mainland prison, San Quentin.\u003c/p>\n\u003cp>“There’s a direct correlation between slavery and mass incarceration,” notes Briley. And so — aiming to abolish not just the language but the practice — “that’s at the core of our mission: dismantling the entire prison industrial complex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926813","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While the Fugitive Slave Law expired after three years, the state of California’s constitution still allowed for involuntary servitude, which stands to this day.\u003c/p>\n\u003cp>The mere allowance for involuntary servitude isn’t the only issue. The enforcement of involuntary servitude is problematic, too. This is outlined in California Department of Corrections and Rehabilitation’s (CDCR) \u003ca href=\"https://codes.findlaw.com/ca/penal-code/pen-sect-2700/#:~:text=The%20Department%20of%20Corrections%20shall,of%20the%20Director%20of%20Corrections.\" target=\"_blank\" rel=\"noopener\">Penal Code 2700\u003c/a>, which dictates that every able-bodied incarcerated person must work. Whether waylaid by sickness, grief or other serious issues, people behind bars in this state must work or else face \u003ca href=\"https://www.shouselaw.com/ca/blog/cdcr-form-115-discipline-report/\" target=\"_blank\" rel=\"noopener\">a Form 115 discipline report\u003c/a>, a write-up added to their record, potentially resulting in a longer prison sentence.\u003c/p>\n\u003cp>“We’re not only trying to change the constitution, we’re not focused on symbolism,” says Lawrence Cox, during the same video call. Cox is the Regional Advocacy and Organizing Associate with the social justice nonprofit \u003ca href=\"https://prisonerswithchildren.org/about-aouon/\" target=\"_blank\" rel=\"noopener\">All of Us or None\u003c/a>, an organization working “to create an airtight solution that prevents the exploitation of individuals who are incarcerated.”\u003c/p>\n\u003cp>The larger goal, Cox adds, is to separate the prison industrial complex from the rehabilitative apparatus of corrections. Which is significant to the CDCR, as \u003ca href=\"http://www.allgov.com/usa/ca/departments/independent-agencies/department_of_corrections_and_rehabilitation?agencyid=223\" target=\"_blank\" rel=\"noopener\">the organization made it a point to add “rehabilitation” to their title in 2004\u003c/a>.\u003c/p>\n\u003cp>“Rehab is about autonomy,” says Cox, adding that “healing from the traumas that may have caused individuals to commit the crimes that they’ve committed… has nothing to do with forced slavery.”\u003c/p>\n\u003cfigure id=\"attachment_13962773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin State Prison in San Quentin on July 26, 2023. In March, California Governor Gavin Newsom announced that the state would seek to transform the maximum security prison into a center focused on the rehabilitation of incarcerated individuals. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n addition to the lack of choice, the conditions incarcerated people are forced to work under are often perilous. Electricians work with live power lines that feed electricity to prisons, and firefighters work on the dangerous frontlines of wildfires. Much of this work is done with a severe lack of support for workers’ rights.\u003c/p>\n\u003cp>In June, the California Division of Occupational Safety and Health (CAL/OSHA) agreed to \u003ca href=\"https://www.dir.ca.gov/dosh/heatillnessinfo.html\" target=\"_blank\" rel=\"noopener\">new guidelines regarding the rights of indoor workers\u003c/a> at workplaces where temperatures reach 82 degrees or above. It’s an important measure, enacted during a changing climate, when everyone is impacted by increasing temperatures. The problem is: \u003ca href=\"https://www.dir.ca.gov/oshsb/documents/Indoor-Heat-updated-txtbrdconsider.pdf\" target=\"_blank\" rel=\"noopener\">the legislation explicitly excludes people behind bars\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://prisonerswithchildren.org/staff-and-board/\" target=\"_blank\" rel=\"noopener\">Dr. Tanisha Cannon\u003c/a>, Managing Director of Legal Services for Prisoners with Children, believes that the labor done by incarcerated people, unpaid or underpaid, should technically qualify them as state workers. But they don’t receive any benefits or Social Security.\u003c/p>\n\u003cp>“Folks can work in state prison for 20 years,” says Cannon, “and then they get released and come home to $200 gate money.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962094","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cannon notes that the $200 gate money that the state gives people who’ve been incarcerated hasn’t changed since the 1970s. In Northern California, she adds, $200 covers about a week’s worth of groceries.\u003c/p>\n\u003cp>“If these jobs didn’t exist inside of prisons, (the state would) have to hire more COs and more electricians to run the prison,” says Cannon. “Prisoners are really running the prison system.”\u003c/p>\n\u003cp>And they aren’t getting paid fairly for it.\u003c/p>\n\u003cp>It’s important for everyone to vote, Cannon emphasizes. She wants to be clear that people with felonies, as well as incarcerated people in California, can vote. (\u003ca href=\"https://www.sos.ca.gov/elections/voting-rights-restored\">Registering and obtaining a ballot\u003c/a> is another hurdle.)\u003c/p>\n\u003cp>Given the theatrics of this year’s presidential election, Cannon understands how people can grow disenfranchised with the electoral process. Nevertheless, she and other advocates are still encouraging people to vote, “because there are some things on this ballot that are going to directly impact you and your community,” says Cannon.\u003c/p>\n\u003cp>And when it comes to voting on involuntary servitude and Prop. 6, Cannon says it’s particularly important, considering that the state has extracted wealth from Black communities for hundreds of years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If these same folks that are producing the labor were getting paid,” says Cannon, “this would extract wealth from those larger companies, and reinvest it in our communities.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962624/involuntary-servitude-california-prop-6-san-quentin","authors":["11491"],"categories":["arts_1","arts_2303"],"tags":["arts_2767","arts_10342","arts_4949","arts_22277","arts_10278","arts_1985"],"featImg":"arts_13962658","label":"source_arts_13962624"},"arts_13962395":{"type":"posts","id":"arts_13962395","meta":{"index":"posts_1716263798","site":"arts","id":"13962395","score":null,"sort":[1723763934000]},"guestAuthors":[],"slug":"bay-area-athletes-paralympic-games-paris-2024","title":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","publishDate":1723763934,"format":"standard","headTitle":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The 2024 Olympic Games may be over (see: \u003ca href=\"https://www.youtube.com/watch?v=9CahdsQFjwQ\">Tom Cruise on a motorcycle\u003c/a>), but it’ll soon be time for the \u003ca href=\"https://www.paralympic.org/paris-2024\">Paris Paralympics\u003c/a>. Running Aug. 28–Sept. 8, the Paralympics involve 4,000 athletes from 177 countries duking it out across 22 sports and 549 medal events. \u003c/p>\n\u003cp>As always, Team USA, already in possession of more gold paralympic medals than any other country on Earth, looks set for success. And in case you want to play regional favorites, here are the incredible Bay Area athletes to root for.\u003c/p>\n\u003ch2>Mark Barr\u003c/h2>\n\u003cp>Hailing from Davis, Mark Barr possesses a fortitude that is borderline unfathomable. Always a sporty kid, he survived bone cancer at the age of 14, but lost his right leg to the disease. After his surgery, a nurse at the hospital — herself an amputee — told him about the Paralympics and encouraged him to go for the gold. Just four years later, Barr was competing in the 2004 games in Athens. (That nurse inspired him in more ways than one — Barr later became an ICU nurse too.)\u003c/p>\n\u003cp>[aside postid='news_11993783']Seeking an even greater challenge at the end of college, Barr decided to transition to triathlons. Once he acquired a prothesis allowing him to do so from the \u003ca href=\"https://www.challengedathletes.org/\">Challenged Athletes Foundation\u003c/a>, there was no stopping him. In 2018, Barr was undefeated in the World Paratriathlon Series and won an ESPY award. Last year, he ticked off another life goal: becoming a dad.\u003c/p>\n\u003ch2>Hannah Chadwick\u003c/h2>\n\u003cp>UC Davis graduate Hannah Chadwick has been blind since birth, but she’s never let that hold her back. She is, after all, a tandem cyclist — one who didn’t even take up the sport until 2019. Her late arrival to cycling has done nothing to slow her down. Last year, the 32-year-old took home two gold medals from the Parapan American Games after winning the 1,000-meter and 3,000-meter races with her cycling partner of one year, Skyler Espinoza. Now the duo are heading to the Paralympics for the very first time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though born in China, Chadwick moved to Northern California at the age of 12, having been adopted by American parents.\u003c/p>\n\u003cp>“Growing up in Humboldt County taught me the importance of how to create and maintain a support network,” \u003ca href=\"https://lostcoastoutpost.com/2023/aug/16/chadwick/\">she told the \u003cem>Lost Coast Outpost\u003c/em>\u003c/a> last year. “I’m so grateful to everyone that encouraged me along the way. I was given many opportunities, and I’m so thankful to be a part of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13962404\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg\" alt=\"Two women in professional cycling gear cheer expressively as they ride a tandem bicycle on a race track.\" width=\"1870\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-800x1095.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1020x1396.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1122x1536.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1496x2048.jpg 1496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1920x2628.jpg 1920w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Chadwick and Skyler Espinoza celebrate winning bronze in the women’s B para-cycling sprint finals at the UCI Cycling World Championships on Aug. 6, 2023. \u003ccite>(ADRIAN DENNIS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skyler Espinoza\u003c/h2>\n\u003cp>Menlo Park-based Skyler Espinoza acts as Chadwick’s “pilot” on the race track — but cycling wasn’t always her first sport of choice. Throughout college, and during her time as a graduate student at Stanford, Espinoza was a rower. Even after graduating, she stayed at Stanford as a rowing coach. Espinoza came to cycling only after back surgery prompted her to get on a bike as part of her physiotherapy. She hasn’t looked back since.\u003c/p>\n\u003cp>[aside postid='arts_13962267']“I think the pilot role really speaks to my values a lot in terms of supporting other athletes in sports,” \u003ca href=\"https://www.usparacycling.org/news/2023/october/31/skyler-espinoza-joe-christiansen-reach-world-stage-as-tandem-team-pilots\">Espinoza told U.S. Paracycling\u003c/a> last year. “It’s a teammate role, it’s a little bit of a mentor role and coaching role because I’ve been an athlete for a long time and Hannah is a relatively new athlete. It’s been a really great opportunity.”\u003c/p>\n\u003ch2>Noah Jaffe\u003c/h2>\n\u003cp>This born-and-raised Californian has been a competitive swimmer since he was just 10 years old. Clearly, starting young pays off. Jaffe absolutely smashed his competitions at last year’s Paralympic Swimming World Championships: not only did he win four medals, including a gold, he also broke the American record for the 100-meter freestyle race.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ULkzw9KB17c\u003c/p>\n\u003cp>That success inspired him to take a year out from his biochemistry studies at UC Berkeley and focus on training for the Paralympics, which he’s currently doing at the U.S. Olympic and Paralympic Training Center in Colorado.\u003c/p>\n\u003cp>“Being around a lot of Paralympic athletes … is new to me,” he recently told TeamUSA.com. “I’ve always trained with able-bodied athletes, so having that community and knowing this is a place for me, and being able to connect with them both in practice and outside of practice has been great.”\u003c/p>\n\u003cp>Jaffe was born with spastic quadriplegic cerebral palsy, which restricts movement in both of his legs and right arm. Once he’s completed his studies, his goal is to work with young people living with similar conditions. \u003c/p>\n\u003ch2>Mohamed Lahna\u003c/h2>\n\u003cp>[aside postid='arts_13962574']Born in Casablanca, educated in San Mateo and a current resident of Hayward, Mohamed Lahna simply cannot stop taking on new challenges — possibly because he’s making up for lost time. As a small child, he used crutches to play sports with friends. Through his teens, Lahna wasn’t allowed to participate in gym glass, having used an unbendable prosthetic made of wood and leather. He didn’t ride a bike until he was 23 years old. And yet, since he received his first running prosthetic in 2011, Lahna has been incapable of slowing down.\u003c/p>\n\u003cp>Within two years of getting that prosthetic, Lahna won his first International Triathlon Union paratriathlon. He also quickly discovered he was the kind of guy who could swim the Strait of Gibraltar, run marathons across the Sahara Desert, complete Ironman competitions and ride a bicycle from South America’s lowest point to its highest peak. Lahna will be competing in the triathlon in Paris — don’t expect a leisurely pace.\u003c/p>\n\u003cfigure id=\"attachment_13962402\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg\" alt=\"Female athletes raise their hands in celebration from the floor of a volleyball court. All are visible from behind except for one woman in the center of the image.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bethany Zummo (C) celebrates a point with her team mates during a women’s sitting volleyball match at the Tokyo 2020 Paralympic Games. \u003ccite>(Dean Mouhtaropoulos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bethany Zummo\u003c/h2>\n\u003cp>This 31-year-old volleyball wizard from Dublin grew up playing standing volleyball despite losing her right foot at age 2. That turned out to be perfect training for her current job coaching girls at NorCal Volleyball Club in Livermore. It helps that Zummo is also currently at the top of her game in sitting volleyball, having won gold medals at the two Paralympics she has so far competed in — Rio 2016 and Tokyo 2021.\u003c/p>\n\u003cp>Zummo now revels in being able to play both versions of the sport.\u003c/p>\n\u003cp>“I didn’t want to play sitting volleyball or an adaptive sport because I thought it was weird,” she once said, recalling her formative years. “I thought it was different, and all I wanted to do was fit in. I just want to be able to show my girls that it is so much more fun to stand out and be different. They don’t have to put so much pressure on themselves to be perfect … I’ve been exactly where they are.”\u003c/p>\n\u003cp>The next generation is clearly in great hands.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2024 Paralympic Games begin streaming on Peacock on Aug. 28, 2024. Select events will also be available to view via CNBC, E!, NBC and USA Network.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Meet our local Paralympians, including a UC Berkeley biochemistry student, a volleyball coach and a Davis ICU nurse. ","status":"publish","parent":0,"modified":1726770883,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1259},"headData":{"title":"Paris 2024 Paralympic Games: Bay Area Athletes to Watch | KQED","description":"Meet our local Paralympians, including a UC Berkeley biochemistry student, a volleyball coach and a Davis ICU nurse. ","ogTitle":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","ogDescription":"","ogImgId":"","twTitle":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","twDescription":"","twImgId":"","socialTitle":"Paris 2024 Paralympic Games: Bay Area Athletes to Watch %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","datePublished":"2024-08-15T16:18:54-07:00","dateModified":"2024-09-19T11:34:43-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13962395","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962395/bay-area-athletes-paralympic-games-paris-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Olympic Games may be over (see: \u003ca href=\"https://www.youtube.com/watch?v=9CahdsQFjwQ\">Tom Cruise on a motorcycle\u003c/a>), but it’ll soon be time for the \u003ca href=\"https://www.paralympic.org/paris-2024\">Paris Paralympics\u003c/a>. Running Aug. 28–Sept. 8, the Paralympics involve 4,000 athletes from 177 countries duking it out across 22 sports and 549 medal events. \u003c/p>\n\u003cp>As always, Team USA, already in possession of more gold paralympic medals than any other country on Earth, looks set for success. And in case you want to play regional favorites, here are the incredible Bay Area athletes to root for.\u003c/p>\n\u003ch2>Mark Barr\u003c/h2>\n\u003cp>Hailing from Davis, Mark Barr possesses a fortitude that is borderline unfathomable. Always a sporty kid, he survived bone cancer at the age of 14, but lost his right leg to the disease. After his surgery, a nurse at the hospital — herself an amputee — told him about the Paralympics and encouraged him to go for the gold. Just four years later, Barr was competing in the 2004 games in Athens. (That nurse inspired him in more ways than one — Barr later became an ICU nurse too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11993783","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Seeking an even greater challenge at the end of college, Barr decided to transition to triathlons. Once he acquired a prothesis allowing him to do so from the \u003ca href=\"https://www.challengedathletes.org/\">Challenged Athletes Foundation\u003c/a>, there was no stopping him. In 2018, Barr was undefeated in the World Paratriathlon Series and won an ESPY award. Last year, he ticked off another life goal: becoming a dad.\u003c/p>\n\u003ch2>Hannah Chadwick\u003c/h2>\n\u003cp>UC Davis graduate Hannah Chadwick has been blind since birth, but she’s never let that hold her back. She is, after all, a tandem cyclist — one who didn’t even take up the sport until 2019. Her late arrival to cycling has done nothing to slow her down. Last year, the 32-year-old took home two gold medals from the Parapan American Games after winning the 1,000-meter and 3,000-meter races with her cycling partner of one year, Skyler Espinoza. Now the duo are heading to the Paralympics for the very first time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though born in China, Chadwick moved to Northern California at the age of 12, having been adopted by American parents.\u003c/p>\n\u003cp>“Growing up in Humboldt County taught me the importance of how to create and maintain a support network,” \u003ca href=\"https://lostcoastoutpost.com/2023/aug/16/chadwick/\">she told the \u003cem>Lost Coast Outpost\u003c/em>\u003c/a> last year. “I’m so grateful to everyone that encouraged me along the way. I was given many opportunities, and I’m so thankful to be a part of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13962404\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg\" alt=\"Two women in professional cycling gear cheer expressively as they ride a tandem bicycle on a race track.\" width=\"1870\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-800x1095.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1020x1396.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1122x1536.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1496x2048.jpg 1496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1920x2628.jpg 1920w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Chadwick and Skyler Espinoza celebrate winning bronze in the women’s B para-cycling sprint finals at the UCI Cycling World Championships on Aug. 6, 2023. \u003ccite>(ADRIAN DENNIS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skyler Espinoza\u003c/h2>\n\u003cp>Menlo Park-based Skyler Espinoza acts as Chadwick’s “pilot” on the race track — but cycling wasn’t always her first sport of choice. Throughout college, and during her time as a graduate student at Stanford, Espinoza was a rower. Even after graduating, she stayed at Stanford as a rowing coach. Espinoza came to cycling only after back surgery prompted her to get on a bike as part of her physiotherapy. She hasn’t looked back since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962267","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I think the pilot role really speaks to my values a lot in terms of supporting other athletes in sports,” \u003ca href=\"https://www.usparacycling.org/news/2023/october/31/skyler-espinoza-joe-christiansen-reach-world-stage-as-tandem-team-pilots\">Espinoza told U.S. Paracycling\u003c/a> last year. “It’s a teammate role, it’s a little bit of a mentor role and coaching role because I’ve been an athlete for a long time and Hannah is a relatively new athlete. It’s been a really great opportunity.”\u003c/p>\n\u003ch2>Noah Jaffe\u003c/h2>\n\u003cp>This born-and-raised Californian has been a competitive swimmer since he was just 10 years old. Clearly, starting young pays off. Jaffe absolutely smashed his competitions at last year’s Paralympic Swimming World Championships: not only did he win four medals, including a gold, he also broke the American record for the 100-meter freestyle race.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ULkzw9KB17c'\n title='//www.youtube.com/embed/ULkzw9KB17c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That success inspired him to take a year out from his biochemistry studies at UC Berkeley and focus on training for the Paralympics, which he’s currently doing at the U.S. Olympic and Paralympic Training Center in Colorado.\u003c/p>\n\u003cp>“Being around a lot of Paralympic athletes … is new to me,” he recently told TeamUSA.com. “I’ve always trained with able-bodied athletes, so having that community and knowing this is a place for me, and being able to connect with them both in practice and outside of practice has been great.”\u003c/p>\n\u003cp>Jaffe was born with spastic quadriplegic cerebral palsy, which restricts movement in both of his legs and right arm. Once he’s completed his studies, his goal is to work with young people living with similar conditions. \u003c/p>\n\u003ch2>Mohamed Lahna\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962574","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Born in Casablanca, educated in San Mateo and a current resident of Hayward, Mohamed Lahna simply cannot stop taking on new challenges — possibly because he’s making up for lost time. As a small child, he used crutches to play sports with friends. Through his teens, Lahna wasn’t allowed to participate in gym glass, having used an unbendable prosthetic made of wood and leather. He didn’t ride a bike until he was 23 years old. And yet, since he received his first running prosthetic in 2011, Lahna has been incapable of slowing down.\u003c/p>\n\u003cp>Within two years of getting that prosthetic, Lahna won his first International Triathlon Union paratriathlon. He also quickly discovered he was the kind of guy who could swim the Strait of Gibraltar, run marathons across the Sahara Desert, complete Ironman competitions and ride a bicycle from South America’s lowest point to its highest peak. Lahna will be competing in the triathlon in Paris — don’t expect a leisurely pace.\u003c/p>\n\u003cfigure id=\"attachment_13962402\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg\" alt=\"Female athletes raise their hands in celebration from the floor of a volleyball court. All are visible from behind except for one woman in the center of the image.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bethany Zummo (C) celebrates a point with her team mates during a women’s sitting volleyball match at the Tokyo 2020 Paralympic Games. \u003ccite>(Dean Mouhtaropoulos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bethany Zummo\u003c/h2>\n\u003cp>This 31-year-old volleyball wizard from Dublin grew up playing standing volleyball despite losing her right foot at age 2. That turned out to be perfect training for her current job coaching girls at NorCal Volleyball Club in Livermore. It helps that Zummo is also currently at the top of her game in sitting volleyball, having won gold medals at the two Paralympics she has so far competed in — Rio 2016 and Tokyo 2021.\u003c/p>\n\u003cp>Zummo now revels in being able to play both versions of the sport.\u003c/p>\n\u003cp>“I didn’t want to play sitting volleyball or an adaptive sport because I thought it was weird,” she once said, recalling her formative years. “I thought it was different, and all I wanted to do was fit in. I just want to be able to show my girls that it is so much more fun to stand out and be different. They don’t have to put so much pressure on themselves to be perfect … I’ve been exactly where they are.”\u003c/p>\n\u003cp>The next generation is clearly in great hands.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2024 Paralympic Games begin streaming on Peacock on Aug. 28, 2024. Select events will also be available to view via CNBC, E!, NBC and USA Network.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962395/bay-area-athletes-paralympic-games-paris-2024","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_75","arts_13238"],"tags":["arts_10342","arts_10278","arts_3920","arts_22271","arts_22239","arts_585"],"featImg":"arts_13962403","label":"arts_140"},"arts_13962406":{"type":"posts","id":"arts_13962406","meta":{"index":"posts_1716263798","site":"arts","id":"13962406","score":null,"sort":[1723475551000]},"guestAuthors":[],"slug":"chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson","title":"Outside Lands Belonged to Chappell Roan","publishDate":1723475551,"format":"standard","headTitle":"Outside Lands Belonged to Chappell Roan | KQED","labelTerm":{"site":"arts"},"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.","status":"publish","parent":0,"modified":1723503870,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":2173},"headData":{"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.","ogTitle":"Outside Lands Belonged to Chappell Roan","ogDescription":"Other festival performers shined, but the Midwest Princess owned the weekend.","ogImgId":"","twTitle":"Outside Lands Belonged to Chappell Roan","twDescription":"Other festival performers shined, but the Midwest Princess owned the weekend.","twImgId":"","socialTitle":"Outside Lands Belonged to Chappell Roan: Review, Photos %%page%% %%sep%% KQED","socialDescription":"Recapping the 2024 festival, with highlights Grace Jones, Victoria Monét, Sabrina Carpenter, Daniel Caesar and more.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Outside Lands Belonged to Chappell Roan","datePublished":"2024-08-12T08:12:31-07:00","dateModified":"2024-08-12T16:04:30-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13962406","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962557","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson","authors":["11387","11872","11883"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1694","arts_1739","arts_822","arts_769","arts_1146"],"featImg":"arts_13962511","label":"arts"},"arts_13962136":{"type":"posts","id":"arts_13962136","meta":{"index":"posts_1716263798","site":"arts","id":"13962136","score":null,"sort":[1722980200000]},"guestAuthors":[],"slug":"rose-damato-bampfa-mission-chevrolet-sign-painting","title":"Rose D’Amato Sees the Signs","publishDate":1722980200,"format":"standard","headTitle":"Rose D’Amato Sees the Signs | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Rose D’Amato shows me a photograph she took of a \u003ca href=\"https://www.sfchronicle.com/sf/article/old-mural-mission-district-18535614.php\">recently uncovered sign\u003c/a>, hand-painted in the 1930s, advertising six-cylinder Chevrolets on what used to be the Mission Chevrolet Co. building. In the picture, a pool of water in the neighboring construction site doubles the wall, reflecting the painting back upon itself.\u003c/p>\n\u003cp>“I went over the other day and someone had tagged ‘teach more history,’” says D’Amato, who is taking a break from working on her large-scale mural at the Berkeley Art Museum and Pacific Film Archive, aptly titled \u003cem>\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>\u003c/em>. D’Amato’s Art Wall will be on view Aug. 7–Dec. 15, 2024.\u003c/p>\n\u003cp>She directs my attention to a video feed projected over a portion of her stenciled plans to recreate the Chevrolet sign on BAMPFA’s wall. Super 8 footage, shot by the artist, slowly excavates the now-weathered Chevrolet Six sign, layering the present and its jumbled context on her reconstruction of the sign’s past.\u003c/p>\n\u003cp>“This 100-year-old billboard just got exposed, and on the other side of the city kids are burning down Waymos,” D’Amato says. “Getting confronted by this huge image from the past puts this all in perspective.”\u003c/p>\n\u003cp>In her work, D’Amato takes that “history” tag to heart. Her paintings show a reverence for San Francisco’s past by recreating and preserving ephemeral vestiges of place. But she also embraces the live, undulating context of the city’s present. It’s an approach few pull off quite as well: honoring the past without bending to nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13962155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg\" alt=\"Person stands with back to camera looking up at large mural on wall\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato sees her mural ‘Mission Chevrolet’ for the first time without any scaffolding in front of it at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The language of landscape\u003c/h2>\n\u003cp>Rose D’Amato (who formerly worked under the name Lauren D’Amato) has called San Francisco home for the past 12 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since arriving to study art at the San Francisco Art Institute, she’s been involved in many of the city’s art scenes, apprenticing at New Bohemia Signs; running her own small sign business; perfecting her form as a pin-striper; holding Kustom Sunday community nights to adorn friends’ cars, boats and windows with painted roses; and teaching hand-lettering classes at California College of the Arts for the past four years.\u003c/p>\n\u003cp>[aside postID='arts_13890818,arts_13841135']D’Amato is deeply attuned to the particularities of San Francisco’s signage, which lend each part of the city a distinct character. In industrial Bayview, where she lives, large, bold signs meant to be read from the freeway have a certain functionality. Many of her favorites are painted by a friend and neighbor, Bob Dewhurst. Dewhurt’s signs, D’Amato says, “are practical and utilitarian, with sharp forms that reflect that use. They look like they could be Ed Ruscha paintings.”\u003c/p>\n\u003cp>In pedestrian-filled neighborhoods like the Mission, a human-scale style takes precedence. “Script signs show personality in an extreme way,” D’Amato says. Her understanding of San Francisco is of a landscape filled with different visual languages — all in constant flux.\u003c/p>\n\u003cp>D’Amato is particularly drawn to signs that have transcended their original use. “I like liquor store signs,” she says. “The material they are painted on is acrylic so the actual substrates of the signs crack and fade quickly and they get replaced frequently. I try and pay attention to those because they are rapidly taken down.”\u003c/p>\n\u003cfigure id=\"attachment_13962154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg\" alt='Person holding metal tool box with \"SPARKY\" on it' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato shows off her tool boxes at BAMPFA on Aug. 6, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sculpting words with paint\u003c/h2>\n\u003cp>After spending a contemplative year at Headlands Center for the Arts as the \u003ca href=\"https://www.headlands.org/artist/lauren-damato/\">2023–2024 Tournesol Award recipient\u003c/a>, D’Amato is at a stage of her career where she’s ready to translate her many technical skills into a singular expressive style. She’s spent a decade balancing professional sign painting with her work as an artist, and D’Amato has closely considered the nebulous filament that delineates the “decorative arts” from those “fine arts” which don’t need to be qualified. The arbitrary division is troubled by her work, which speaks both languages fluently.\u003c/p>\n\u003cp>This facility is currently on display in D’Amato’s two-person show at Gallery 16, \u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">\u003cem>Everybody Knows This Is Someplace\u003c/em>\u003c/a>, where her works find a fitting conversation partner in the textile canvases of fellow sign painter Jeffrey Sincich.\u003c/p>\n\u003cp>During the show’s opening, early evening light seeping through the gallery’s windows gave the exhibition a disorienting feeling, washing the space in a warm, blinding orange. It was difficult to surmise the perimeter of the gallery space, and this was fitting, as many of Sincich and D’Amato’s works replicate the exterior of buildings. Sincich, especially, leans into trompe l’oeil.\u003c/p>\n\u003cp>[aside postID='arts_13957410']D’Amato’s paintings in \u003cem>Everybody Knows\u003c/em> are mostly made with shades of mauve and brown and thick, black lettering. They abstract signage, doubling or patterning language in a way that sculpts words into forms free of semantic expectations. The beveled edges and layering feel revelatory, like an impressionist painter who suddenly considers cubism.\u003c/p>\n\u003cp>“That’s a big thing I want to do,” D’Amato says, “show signs as something separate from their actual function. Abstraction focuses on form, their beautiful hand-made aspects.” In D’Amato’s paintings, I see the exterior world atomized through her eyes, her unique way of seeing and responding to the signs of San Francisco.\u003c/p>\n\u003cp>Just as the artist is guiding our attention to hand-painted signs, she’s making transparent the physical labor that goes into their construction. At the Gallery 16 show, Sincich and D’Amato invited friends and fellow sign makers to exhibit their own work, underscoring the community necessary to sustaining an art practice.\u003c/p>\n\u003cfigure id=\"attachment_13962156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato holds her pin-striping brushes at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Local lineages\u003c/h2>\n\u003cp>When the Chevrolet Six billboard was exposed in December 2023, it drew immediate interest from San Francisco’s greater sign painting community. D’Amato and her friends checked in on it, marking the way its context continually changed through heavy rains and bouts of graffiti bombing. Their interest, D’Amato says, “showed me that they would have enjoyed to paint it.” At BAMPFA, she’s invited friends and fellow sign painters to letter with her, making the act of replication a communal one.\u003c/p>\n\u003cp>[aside postID='news_11975756']This group effort feels like a direct descendent of the work of the Mujeres Muralistas, a collective formed in 1970 by Graciela Carrillo, Consuelo Mendez, Patricia Rodriguez and Irene Perez while they were students at SFAI. They worked to expand ideas of what could constitute street murals in the Mission, insisting that alongside overtly political imagery, their depictions of beauty, both in its cultural manifestations and in portraits of women, played a radical, needed role. One of their first murals was a celebration of Pacos Tacos, now-shuttered, which the Mujeres Muralistas feared would lose business to a newly opened McDonald’s at 24th and Mission.\u003c/p>\n\u003cp>“We had the freedom to paint whatever we wanted,” wrote Patricia Rodriguez in an essay for \u003ci>\u003ca href=\"https://www.foundsf.org/index.php?title=Mujeres_Muralistas\">Ten Years That Shook the City: San Francisco 1968-78\u003c/a>\u003c/i>, “and we chose the beauty of women and their Mexican and Latino cultures.”\u003c/p>\n\u003cp>That group would influence another Mission artist and sign painter I can’t help but associate with D’Amato’s practice: Margaret Kilgallen. Drawing from her immediate environment, Kilgallen’s paintings are somehow both elegiac and invigorating, insisting on the presence of rapidly disappearing traditions like folk art, craft, and the hand made. Her canvases reflect genuine encounters of place, and allow the disjointed forms and juxtapositions characteristic of a city to share space in her kaleidoscopes of language.\u003c/p>\n\u003cfigure id=\"attachment_13962153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg\" alt=\"Person smiles sitting on wooden stairs with painted mural behind \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato poses in front of ‘Mission Chevrolet’ at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I love Margaret’s work,” D’Amato says, “She takes a form that already exists — like slab-style Western letters — that relates to the traditions she’s interested in and uses it to create her own image and identity.”\u003c/p>\n\u003cp>“It wasn’t just about signs, or typography,” D’Amato adds. “She was using them as a meeting point to talk about all the places that inspired her, the people, the subcultures. I feel like I relate to that. I’m a car enthusiast, pin-striper, a sign painter. There are meeting points.”\u003c/p>\n\u003cp>Recently, D’Amato decided to start going by her middle name, Rose. Rather than anything approaching a reinvention, the change holds space for the many lineages that have shaped D’Amato’s perspective, and continue to sustain her practice.\u003c/p>\n\u003ch2>Inventing stillness\u003c/h2>\n\u003cp>When Mission Chevrolet Co. was built, it replaced \u003ca href=\"https://bernalwood.com/2013/11/22/a-history-of-the-former-mctigue-harness-shop-on-mission-street-as-shared-by-his-great-great-grandson/\">McTigue Livery\u003c/a>, one of the city’s last saddle shops. “I wonder,” D’Amato considers, “Did the people on horses going to get saddles have the same gut-wrenching feeling as I do seeing the Waymos on the freeway?”\u003c/p>\n\u003cp>San Francisco is a unique battleground when it comes to technology’s encroachment on our sense of place. The city’s past is constantly circumvented by the present’s demands.\u003c/p>\n\u003cp>It’s human to clamor against life’s impending change — to invent stillness from a world in motion. But to actually locate that relief is rare. In D’Amato’s paintings, which reflect the city back upon itself in tripping lines of recognition, this stillness is found, in deep reserve.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Rose D’Amato’s work is on view at the Berkeley Art Museum and Pacific Film Archive in ‘\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>’ Aug. 7–Dec. 15, 2024.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Her show with Jeffrey Sincich, ‘\u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">Everybody Knows This Is Someplace\u003c/a>’ is on view at Gallery 16 (501 Third St., San Francisco) through Aug. 31, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The artist’s recent work at BAMPFA and Gallery 16 preserve and enliven the vanishing art of sign painting.\r\n","status":"publish","parent":0,"modified":1723492439,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1745},"headData":{"title":"‘Mission Chevrolet’ Honors a Nearly 100-Year-Old SF Sign | KQED","description":"In BAMPFA’s newest exhibition, Rose D’Amato preserves and enlivens the vanishing art of sign painting.","ogTitle":"Rose D’Amato Sees the Signs","ogDescription":"","ogImgId":"","twTitle":"Rose D’Amato Sees the Signs","twDescription":"","twImgId":"","socialTitle":"‘Mission Chevrolet’ Honors a Nearly 100-Year-Old SF Sign %%page%% %%sep%% KQED","socialDescription":"In BAMPFA’s newest exhibition, Rose D’Amato preserves and enlivens the vanishing art of sign painting.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rose D’Amato Sees the Signs","datePublished":"2024-08-06T14:36:40-07:00","dateModified":"2024-08-12T12:53:59-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"rose-damato-bampfa-sign-painting","nprStoryId":"kqed-13962136","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962136/rose-damato-bampfa-mission-chevrolet-sign-painting","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rose D’Amato shows me a photograph she took of a \u003ca href=\"https://www.sfchronicle.com/sf/article/old-mural-mission-district-18535614.php\">recently uncovered sign\u003c/a>, hand-painted in the 1930s, advertising six-cylinder Chevrolets on what used to be the Mission Chevrolet Co. building. In the picture, a pool of water in the neighboring construction site doubles the wall, reflecting the painting back upon itself.\u003c/p>\n\u003cp>“I went over the other day and someone had tagged ‘teach more history,’” says D’Amato, who is taking a break from working on her large-scale mural at the Berkeley Art Museum and Pacific Film Archive, aptly titled \u003cem>\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>\u003c/em>. D’Amato’s Art Wall will be on view Aug. 7–Dec. 15, 2024.\u003c/p>\n\u003cp>She directs my attention to a video feed projected over a portion of her stenciled plans to recreate the Chevrolet sign on BAMPFA’s wall. Super 8 footage, shot by the artist, slowly excavates the now-weathered Chevrolet Six sign, layering the present and its jumbled context on her reconstruction of the sign’s past.\u003c/p>\n\u003cp>“This 100-year-old billboard just got exposed, and on the other side of the city kids are burning down Waymos,” D’Amato says. “Getting confronted by this huge image from the past puts this all in perspective.”\u003c/p>\n\u003cp>In her work, D’Amato takes that “history” tag to heart. Her paintings show a reverence for San Francisco’s past by recreating and preserving ephemeral vestiges of place. But she also embraces the live, undulating context of the city’s present. It’s an approach few pull off quite as well: honoring the past without bending to nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13962155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg\" alt=\"Person stands with back to camera looking up at large mural on wall\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato sees her mural ‘Mission Chevrolet’ for the first time without any scaffolding in front of it at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The language of landscape\u003c/h2>\n\u003cp>Rose D’Amato (who formerly worked under the name Lauren D’Amato) has called San Francisco home for the past 12 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since arriving to study art at the San Francisco Art Institute, she’s been involved in many of the city’s art scenes, apprenticing at New Bohemia Signs; running her own small sign business; perfecting her form as a pin-striper; holding Kustom Sunday community nights to adorn friends’ cars, boats and windows with painted roses; and teaching hand-lettering classes at California College of the Arts for the past four years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890818,arts_13841135","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>D’Amato is deeply attuned to the particularities of San Francisco’s signage, which lend each part of the city a distinct character. In industrial Bayview, where she lives, large, bold signs meant to be read from the freeway have a certain functionality. Many of her favorites are painted by a friend and neighbor, Bob Dewhurst. Dewhurt’s signs, D’Amato says, “are practical and utilitarian, with sharp forms that reflect that use. They look like they could be Ed Ruscha paintings.”\u003c/p>\n\u003cp>In pedestrian-filled neighborhoods like the Mission, a human-scale style takes precedence. “Script signs show personality in an extreme way,” D’Amato says. Her understanding of San Francisco is of a landscape filled with different visual languages — all in constant flux.\u003c/p>\n\u003cp>D’Amato is particularly drawn to signs that have transcended their original use. “I like liquor store signs,” she says. “The material they are painted on is acrylic so the actual substrates of the signs crack and fade quickly and they get replaced frequently. I try and pay attention to those because they are rapidly taken down.”\u003c/p>\n\u003cfigure id=\"attachment_13962154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg\" alt='Person holding metal tool box with \"SPARKY\" on it' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato shows off her tool boxes at BAMPFA on Aug. 6, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sculpting words with paint\u003c/h2>\n\u003cp>After spending a contemplative year at Headlands Center for the Arts as the \u003ca href=\"https://www.headlands.org/artist/lauren-damato/\">2023–2024 Tournesol Award recipient\u003c/a>, D’Amato is at a stage of her career where she’s ready to translate her many technical skills into a singular expressive style. She’s spent a decade balancing professional sign painting with her work as an artist, and D’Amato has closely considered the nebulous filament that delineates the “decorative arts” from those “fine arts” which don’t need to be qualified. The arbitrary division is troubled by her work, which speaks both languages fluently.\u003c/p>\n\u003cp>This facility is currently on display in D’Amato’s two-person show at Gallery 16, \u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">\u003cem>Everybody Knows This Is Someplace\u003c/em>\u003c/a>, where her works find a fitting conversation partner in the textile canvases of fellow sign painter Jeffrey Sincich.\u003c/p>\n\u003cp>During the show’s opening, early evening light seeping through the gallery’s windows gave the exhibition a disorienting feeling, washing the space in a warm, blinding orange. It was difficult to surmise the perimeter of the gallery space, and this was fitting, as many of Sincich and D’Amato’s works replicate the exterior of buildings. Sincich, especially, leans into trompe l’oeil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957410","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>D’Amato’s paintings in \u003cem>Everybody Knows\u003c/em> are mostly made with shades of mauve and brown and thick, black lettering. They abstract signage, doubling or patterning language in a way that sculpts words into forms free of semantic expectations. The beveled edges and layering feel revelatory, like an impressionist painter who suddenly considers cubism.\u003c/p>\n\u003cp>“That’s a big thing I want to do,” D’Amato says, “show signs as something separate from their actual function. Abstraction focuses on form, their beautiful hand-made aspects.” In D’Amato’s paintings, I see the exterior world atomized through her eyes, her unique way of seeing and responding to the signs of San Francisco.\u003c/p>\n\u003cp>Just as the artist is guiding our attention to hand-painted signs, she’s making transparent the physical labor that goes into their construction. At the Gallery 16 show, Sincich and D’Amato invited friends and fellow sign makers to exhibit their own work, underscoring the community necessary to sustaining an art practice.\u003c/p>\n\u003cfigure id=\"attachment_13962156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato holds her pin-striping brushes at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Local lineages\u003c/h2>\n\u003cp>When the Chevrolet Six billboard was exposed in December 2023, it drew immediate interest from San Francisco’s greater sign painting community. D’Amato and her friends checked in on it, marking the way its context continually changed through heavy rains and bouts of graffiti bombing. Their interest, D’Amato says, “showed me that they would have enjoyed to paint it.” At BAMPFA, she’s invited friends and fellow sign painters to letter with her, making the act of replication a communal one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11975756","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This group effort feels like a direct descendent of the work of the Mujeres Muralistas, a collective formed in 1970 by Graciela Carrillo, Consuelo Mendez, Patricia Rodriguez and Irene Perez while they were students at SFAI. They worked to expand ideas of what could constitute street murals in the Mission, insisting that alongside overtly political imagery, their depictions of beauty, both in its cultural manifestations and in portraits of women, played a radical, needed role. One of their first murals was a celebration of Pacos Tacos, now-shuttered, which the Mujeres Muralistas feared would lose business to a newly opened McDonald’s at 24th and Mission.\u003c/p>\n\u003cp>“We had the freedom to paint whatever we wanted,” wrote Patricia Rodriguez in an essay for \u003ci>\u003ca href=\"https://www.foundsf.org/index.php?title=Mujeres_Muralistas\">Ten Years That Shook the City: San Francisco 1968-78\u003c/a>\u003c/i>, “and we chose the beauty of women and their Mexican and Latino cultures.”\u003c/p>\n\u003cp>That group would influence another Mission artist and sign painter I can’t help but associate with D’Amato’s practice: Margaret Kilgallen. Drawing from her immediate environment, Kilgallen’s paintings are somehow both elegiac and invigorating, insisting on the presence of rapidly disappearing traditions like folk art, craft, and the hand made. Her canvases reflect genuine encounters of place, and allow the disjointed forms and juxtapositions characteristic of a city to share space in her kaleidoscopes of language.\u003c/p>\n\u003cfigure id=\"attachment_13962153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg\" alt=\"Person smiles sitting on wooden stairs with painted mural behind \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato poses in front of ‘Mission Chevrolet’ at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I love Margaret’s work,” D’Amato says, “She takes a form that already exists — like slab-style Western letters — that relates to the traditions she’s interested in and uses it to create her own image and identity.”\u003c/p>\n\u003cp>“It wasn’t just about signs, or typography,” D’Amato adds. “She was using them as a meeting point to talk about all the places that inspired her, the people, the subcultures. I feel like I relate to that. I’m a car enthusiast, pin-striper, a sign painter. There are meeting points.”\u003c/p>\n\u003cp>Recently, D’Amato decided to start going by her middle name, Rose. Rather than anything approaching a reinvention, the change holds space for the many lineages that have shaped D’Amato’s perspective, and continue to sustain her practice.\u003c/p>\n\u003ch2>Inventing stillness\u003c/h2>\n\u003cp>When Mission Chevrolet Co. was built, it replaced \u003ca href=\"https://bernalwood.com/2013/11/22/a-history-of-the-former-mctigue-harness-shop-on-mission-street-as-shared-by-his-great-great-grandson/\">McTigue Livery\u003c/a>, one of the city’s last saddle shops. “I wonder,” D’Amato considers, “Did the people on horses going to get saddles have the same gut-wrenching feeling as I do seeing the Waymos on the freeway?”\u003c/p>\n\u003cp>San Francisco is a unique battleground when it comes to technology’s encroachment on our sense of place. The city’s past is constantly circumvented by the present’s demands.\u003c/p>\n\u003cp>It’s human to clamor against life’s impending change — to invent stillness from a world in motion. But to actually locate that relief is rare. In D’Amato’s paintings, which reflect the city back upon itself in tripping lines of recognition, this stillness is found, in deep reserve.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Rose D’Amato’s work is on view at the Berkeley Art Museum and Pacific Film Archive in ‘\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>’ Aug. 7–Dec. 15, 2024.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Her show with Jeffrey Sincich, ‘\u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">Everybody Knows This Is Someplace\u003c/a>’ is on view at Gallery 16 (501 Third St., San Francisco) through Aug. 31, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962136/rose-damato-bampfa-mission-chevrolet-sign-painting","authors":["11696"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10342","arts_10278","arts_585"],"featImg":"arts_13962180","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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