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11 Steps to Getting a Tattoo You Won't Regret for the Rest of Your Life

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 (Emmanuel Hapsis)

Tattoos last forever, or at least as long as your body lasts, which is pretty much forever in human terms. For a lot of people (your boss and your grandpa), this is the main reason not to get them. For other people (you), this is what makes them so great. Your pets and your parents will die, your house will get bulldozed to build a superhighway, your friends will move to New York City. But your tattoos? Barring a full-body burning accident, they will be with you through the whole scary, sublime thing, until you are sitting in your easy chair, unable to pee without the help of an in-home care assistant. Until finally, you lose consciousness and stop existing. How comforting to know that a) your memories will be written on your body no matter how badly your brain disintegrates and b) your in-home care assistant will have something pretty to look at while he’s pulling down your pants for you.

I have 6 tattoos and I know an amazing tattooer, so I consider myself enough of an expert to educate you on the process of getting art permanently inscribed on your skin. To fully commit to this project, I decided to go get a tattoo and, while it was happening, interview Derick Montez, who works at Picture Machine Tattoo. He’s the guy who has given me 3 of my tattoos and who is, in my opinion, the best tattoo artist of all time ever. Derek isn’t even 30 yet but he apprenticed with well-known graffiti and tattoo artist Mike Giant and is a great visual artist in a bunch of different mediums, beyond being a respected tattooer. So, without further ado, your step-by-step guide to getting a tattoo you won’t regret for the rest of your life:
inspection2

Before your tattoo:

1. Research! This is THE MOST IMPORTANT OF ALL THE STEPS.

Getting a good tattoo requires some actual preparation. According to Derick: “The biggest mistake I think someone can make is not doing research on the artist that they get tattooed by. Tattooing has become such a popularized trend… more people are tattooing now, more than ever, but just because someone gets the idea in their head that they want to be a tattooer doesn’t mean that they have the proper training or the proper techniques. It’s just like anything else: if you have the money, you can open up a shop, but that doesn’t mean you know what you’re doing.”

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So look at portfolios online. Derick says: “Most reputable shops have portfolios — what you’re looking for is consistency in work… you want to make sure the photos are clear, recognizable, readable, because a lot of times people just put up garbage photos… tattoos that are still wrapped in plastic. If you can find healed photos of peoples’ tattoo work, that is a lot better.”

I know he’s right because this is exactly how my ex-boyfriend found Derick: obsessive internet searching to find the perfect tattoo artist for his first tattoo. I do not have this kind of patience and my first 3 tattoos are a testament to that (I still love them, but they are nothing compared to Derick’s work), so I am very grateful that someone finally did the research for me. But you shouldn’t be so lazy! Do the research yourself! You won’t regret it!

2. Don’t price shop.

Would you look on Craigslist for the cheapest babysitter? Maybe, this isn’t a parenting lesson, but the point is, if some guy says he’ll give you a tattoo for 40 bucks, walk away. Instead, be ready to pay as much as it takes to get high quality work. Pick cheaper shoes or buy your rice in bulk if you want to save money, but when it comes to art that will be on your body until you die, don’t expect to pay less than $100 before tip, and a lot more if you are getting something large or adding color.

the-shop

3. Check out the shop in person.

When you find someone you think you like, go into the shop and meet the artist in real life before you actually get anything done. First, the shop should be clean. Check for work on display and see how you feel about the aesthetic in person. Then, go with your gut. My first tattoo, which I got when I was about 20, was the result of something halfway between a whim and a manic compulsion, when I decided I needed a tattoo and jumped on the bus that went to the part of Portland rife with tattoo parlors. The first one I went into was clean enough, but something about it gave me the heebie jeebies and I got back on the bus and got off at a smaller, friendlier place, where I ended up getting a tiny star below my left hip.

Derick put it this way: “Generally, if people are going to take the time to answer your questions and not be a dick, they have confidence in their work… you should never really feel pressured to get tattooed right then and there.”

(Side note: You can always start small and come back for something bigger when you are ready. Three years after I got that star, the same artist gave me the outline of Oregon with a heart in it. Sometimes slowly building up to a bigger piece is a good idea.)

If you do your research and find a really great tattooer, you are 90 percent of the way to getting an awesome tattoo. The rest of these things will become a lot easier, because a good, professional tattooer will be looking out for you — they want your tattoo to look awesome since it represents them. Remember though, this is your body and ultimately you make the decisions. So for better or worse, the end result is your responsibility.

derickswork

4. Spend some time thinking about the design.

Obviously, this goes without saying but I am going to say it anyway: don’t get something you really will regret. Disney princesses, an Aryan Brotherhood clover or anything else that might get you killed in prison, misspelled Chinese idioms, your on-again, off-again boyfriend’s name. These things ruin lives. Pick something with personal meaning or something you think is beautiful. Go in ahead of time to talk to your tattoo artist about the design. My last 3 tattoos started as just ideas and I pretty much gave Derick free reign to do what he wanted, since he knows a lot more about tattoos and making beautiful things than I do. I am very happy with the results.

the-creation

Day of the tattoo:

5. Don’t be drunk.

I’m not going to explain this to you. You know better. Also, a good tattoo artist will not tattoo you if you are drunk.

6. Eat something before you go.

No one wants you to pass out. Eat dinner! Bring along some candy to chew on if you are getting something big done.

7. Don’t come in with a posse.

Derick: “I think a mistake a lot of people can make is coming into a tattoo shop with a whole plethora of friends. I’ve watched people come in, know what they want, and through the opinion of 4 or 5 other people end up getting something completely different or going against the advice of the tattoo artist.”

Derick has a lot of great tattoos and he says: “Whenever I’ve gotten my tattoos, I’ve done it all by myself… just so I know that whatever I’m getting is all on me.”

Bring a friend if you are nervous or if you just want the company. But don’t bring a pack. You did your research, remember? This is between you and the person putting it on your body. It doesn’t really matter that your friend with no tattoos thinks it would look better in orange on your left kneecap.

drawing2

8. Make sure it is really what you want.

The tattoo artist will put a transfer of the tattoo on your body in the place you want it before he actually starts in with the needle and ink (in this case Derick actually drew on me, but usually it starts with a transfer). Make sure you like the size and the placement. This is not the time to be passive. Listen to the tattooer (not your friends) but remember: your body, your choice.

pain2

9. Accept that this will hurt.

Yes, it will hurt. It is needles poking your skin deeply and quickly. But if it didn’t hurt, would it mean as much? Plus, now instead of being the person asking their tatted-up friend, “Oh man, did that hurt?” you will be the person answering, “Yeah, it wasn’t so bad.”

drock2

After the tattoo is done:

10. Tip!

You did your research and you got an awesome tattoo! So tip! At least 20 percent and always in cash. Let me repeat that: always in cash. So make sure you have enough BEFORE YOU GET TO THE TATTOO PARLOR.

post2

11. Follow the care instructions.

Derick: “People should really treat their tattoo like they got a flesh wound.”

Me: Because they did. So wash it with unscented soap, don’t touch it or pick at it, use the recommended lotion, don’t soak in any water.

True story: I played a soccer game right after I got my Oregon tattoo. Due to the stretching caused by running around and sweating, when the tattoo healed, the border of the state and the heart in the middle had dots of bare skin. I had to wait 6 months and get the whole thing redone. Not only did it hurt about 50 times worse than the original tattoo, now it is raised like a scar while the rest of my tattoos seem flush with my skin.

So, what more can I tell you? If you do your research and pick a tattooer whose aesthetic you like and who gives you a good feeling in your stomach and you get a tattoo that won’t force you to join a white supremacist gang in prison, and then you take care of it, you will end up with a piece of art on your body that no one can ever take away. Good luck!

P.S.: Do you have a tattoo artist you love or any tattoo tips at all? Write about it in the comments! Share the wealth!

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All photos by Emmanuel Hapsis.

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Her work has been published in \u003ci>Nano Fiction\u003c/i>, \u003ci>We Who Are About To Die\u003c/i> and \u003ci>Tramp Quarterly\u003c/i>, among others. She was the co-creator/curator of the San Francisco reading series Funny/Sexy/Sad. She blogs regularly at lizzyacker.com.Lizzy is from Oregon, but now lives in San Francisco where she recently received her MFA from San Francisco State University. Currently, she writes status updates and processes member donations for KQED and is a contributing blogger to KQED Arts.","avatar":"https://secure.gravatar.com/avatar/8ea0d686abaede31d5a094259db6a34f?s=600&d=blank&r=g","twitter":"lizzyacker","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]}],"headData":{"title":"Lizzy Acker | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/8ea0d686abaede31d5a094259db6a34f?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/8ea0d686abaede31d5a094259db6a34f?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/lacker"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13958101":{"type":"posts","id":"arts_13958101","meta":{"index":"posts_1716263798","site":"arts","id":"13958101","found":true},"guestAuthors":[],"slug":"naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","title":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","publishDate":1716906542,"format":"standard","headTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>[aside postid='arts_13953248']Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwy83i5XDx8\u003c/p>\n\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>[aside postid='arts_13954358']\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A documentary honors the model-turned-photographer who created some of America’s most iconic pin-up images.","status":"publish","parent":0,"modified":1716572614,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":912},"headData":{"title":"‘Naked Ambition’ Review: Bunny Yeager's Photo Legacy Lives on | KQED","description":"A documentary honors the model-turned-photographer who created some of America’s most iconic pin-up images.","ogTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","ogDescription":"","ogImgId":"","twTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","twDescription":"","twImgId":"","socialTitle":"‘Naked Ambition’ Review: Bunny Yeager's Photo Legacy Lives on %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","datePublished":"2024-05-28T07:29:02-07:00","dateModified":"2024-05-24T10:43:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958101/naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\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/Iwy83i5XDx8'\n title='//www.youtube.com/embed/Iwy83i5XDx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\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>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958101/naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10772","arts_13672","arts_10278","arts_1201","arts_822","arts_769","arts_1386","arts_585"],"featImg":"arts_13958185","label":"arts_140"},"arts_13958544":{"type":"posts","id":"arts_13958544","meta":{"index":"posts_1716263798","site":"arts","id":"13958544","found":true},"guestAuthors":[],"slug":"bottlerock-kali-uchis-review-photos","title":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","publishDate":1716746733,"format":"standard","headTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"It was the singer’s first show since giving birth and dropping her phenomenal album ‘Orquídeas.’","status":"publish","parent":0,"modified":1716746733,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1001},"headData":{"title":"BottleRock Kali Uchis Review: An Otherworldly Night | KQED","description":"It was the singer’s first show since giving birth and dropping her phenomenal album ‘Orquídeas.’","ogTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","ogDescription":"","ogImgId":"","twTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","twDescription":"","twImgId":"","socialTitle":"BottleRock Kali Uchis Review: An Otherworldly Night %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","datePublished":"2024-05-26T11:05:33-07:00","dateModified":"2024-05-26T11:05:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958544","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958544/bottlerock-kali-uchis-review-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\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 headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958544/bottlerock-kali-uchis-review-photos","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_1853","arts_10278","arts_1855"],"featImg":"arts_13958575","label":"arts"},"arts_13957988":{"type":"posts","id":"arts_13957988","meta":{"index":"posts_1716263798","site":"arts","id":"13957988","found":true},"guestAuthors":[],"slug":"mistah-f-a-b-drops-n-e-w-oakland-music-video-nearly-20-years-later","title":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later","publishDate":1716328907,"format":"standard","headTitle":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 2005, when rapper \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\">Mistah F.A.B.\u003c/a> originally released “N.E.W. Oakland,” he was barely old enough to legally drink. Nearly 20 years later — now a veteran, community fixture and business savant — he’s finally decided to drop the video.\u003c/p>\n\u003cp>Mistah F.A.B. is known for pouring his all into The Town. In addition to running \u003ca href=\"https://www.instagram.com/dopeeraco/?hl=en\">Dope Era\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">a clothing shop that also offers a youth arts development component\u003c/a>), he recently began offering \u003ca href=\"https://www.youtube.com/watch?v=pVbQyGJGWgw\">Thug Therapy\u003c/a> (a free, bimonthly support group for men).  But “N.E.W. Oakland” shows how F.A.B. was bringing folks together long before that, with a call for pride and unity in the Oakland hip-hop scene.\u003c/p>\n\u003cp>The ode recounts each side of Oakland (the North, East and West) with a triumvirate of game-certified, lyrically diverse representatives: F.A.B., \u003ca href=\"https://www.instagram.com/trugstack/\">G-Stack\u003c/a> and \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a>. As a young, rising freestyle rapper, Mistah F.A.B. — the self-proclaimed “Prince of the O” — first got the idea when he ran into the pair of Oakland legends, whom he grew up idolizing.\u003c/p>\n\u003cp>“I was in the studio and was like, there go G-Stack, that’s a super pioneer for the culture with [his group] The Delinquents, and what they done for Oakland. Then Bavgate walked into the studio after that. He used to be with No Limit [Records], selling millions,” F.A.B. recalls. “I’m like, ‘I’m from the North, he’s from the East, he’s from the West.’ Let’s do a record about the whole Town being together.”\u003c/p>\n\u003cp>“I had a beat from E-A-Ski and I freestyled the hook,” he continues. “Everyone was like ‘Yeah, that’s cold.’ So we wrote our verses. [But] never would I have thought that ‘N.E.W Oakland’ would be a song that stands as a Bay Area anthem.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_E0FIFuJZ64\u003c/p>\n\u003cp>Unlike so many rap songs about warring factions, “N.E.W. Oakland” brings each side of Oakland together on equal footing, with shout-outs to each neighborhood’s markers. There may not be another hook with as much centrifugal gravity for all of Oakland as when F.A.B. shouts, “I got the North, got the East, got the West with me.”\u003c/p>\n\u003cp>At the time of the song’s release, F.A.B. says that North Oakland wasn’t receiving its proper respect, often being left out of the larger rap conversation, while East and West Oakland rappers got their shine. In the 2005 Keak Da Sneak track “Town Business,” for example, the raspy-voiced linguist rattles off a litany of Oakland locations — but none from the North side.\u003c/p>\n\u003cp>“That was a big record that summer,” F.A.B. says. “I was like ‘Damn, y’all didn’t say nothing about North Oakland.’ So when I did my verse [on ‘N.E.W. Oakland’], I started it out with the same cadence Keak used but it included areas from North Oakland. It was a friendly response to my big brother about how they forgot about us. It’s not no diss or anything. It’s just letting people know about the North.”\u003c/p>\n\u003cp>On the opening verse of “N.E.W. Oakland,” Fabby bombards listeners with references to “the North Pole” — Gaskill, Bushrod, 62nd, Goldenville. He then reminds the Bay Area that Oakland is bigger than its notorious East and West sides: “My side been forgot about and that’s what I’m hot about.” Then he enlists two lyrical giants from each contingent to tell their sides.\u003c/p>\n\u003cp>The song was instantly a hit on street corners, at house parties, lakeside cookouts, car cruises and more. And its unifying theme is surely part of the reason the new video struck such a deep chord with today’s audience after it premiered on May 10.\u003c/p>\n\u003cfigure id=\"attachment_11754468\" class=\"wp-caption alignnone\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11754468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg\" alt=\"Mistah F.A.B. headlines a show honoring the legacy of Oakland's Mac Dre\" width=\"1071\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-960x565.jpg 960w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. made a name for himself during the hyphy movement with his unapologetic representation of North Oakland. \u003ccite>(Photo: Courtesy of Mistah F.A.B.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot and directed by Thee Shooters, the video is a mix of documentary and artistic angling, spanning each rapper’s turf — beginning in the North, then sliding through the Deep East and circling back to Ghost Town in the West. Despite the shift in eras (and technology), the 20-year-old song seems to have even gained a few octaves of trunk-rattling superpowers with each passing year.\u003c/p>\n\u003cp>Bay Area fans seem to agree that it slaps. The comment section under \u003ca href=\"https://www.instagram.com/p/C6zuz27xWyF/\">the “N.E.W. Oakland” video’s Instagram post\u003c/a> is like a group chat of diehard fans and major Bay Area personalities and institutions, including \u003ca href=\"https://www.kqed.org/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3\">Rexx Life Raj\u003c/a>, DB Tha General, 22nd Jim, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, The Grouch and more.\u003c/p>\n\u003cp>“Who here been waiting 20 years for this video button [100 emoji; fire emoji; clapping emoji],” one fan on \u003ca href=\"https://www.youtube.com/watch?v=_E0FIFuJZ64\">YouTube\u003c/a> wrote. “I’m 33 now, this slap came out when I was a freshman in high school!,” says another. And perhaps the one that hits the bullseye: “Maaannn, very smart release.”\u003c/p>\n\u003cp>If it feels rare for a rapper to reach into the archives and shoot original footage for a track that was released nearly a quarter-century ago, that’s because it is. For better or worse, hip-hop has often been presented as a genre of the moment, and the culture is still figuring out how to age gracefully and honor the past — particularly as some of its mainstay figures pass away, and others radically shift gears to stay relevant.\u003c/p>\n\u003cp>In that context, it’s compelling for three well-established rappers to come back in a way that is fresh, dynamic and genuine — not by trying to create a contemporary hit based on today’s TikTok trends, but to honor their past work together in a sincere way.\u003c/p>\n\u003cp>It begs the question: Why isn’t there more of this? If it’s the right song, and it came out at the right time, but there’s no existing video for it, then why not release a video after the fact?\u003c/p>\n\u003ch2>Capturing Oakland, then and now\u003c/h2>\n\u003cp>Back in the day, music videos were mostly financially out of reach for independent rappers — it could’ve cost $25,000 to $50,000 to film a proper one. Without record label budgets, artists learned how to survive out the trunk rather than aspiring for Hollywood’s recognition. In fact, most of Mistah F.A.B.’s legendary discography — along with many of the alpha rappers of his generation and prior — didn’t have official videos until later in their careers. They made mixtapes, and then there were bootleg mixes of pixelated slideshows created by avid fans on YouTube, long before social media existed.\u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption alignnone\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"1499\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w\" sizes=\"(max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For F.A.B., it only felt right to resuscitate an important moment in Oakland’s rap history by providing a video. The idea first came together organically during F.A.B.’s birthday party earlier this year; G-Stack and Bavgate were in attendance. F.A.B. realized he had a film crew available that could do what he didn’t have the ability to do at 21 years old. So he locked it in.\u003c/p>\n\u003cp>“Documentation supersedes conversation,” says Mistah F.A.B., like a professor about to freestyle an entire dissertation. “When it’s locked in, there’s nothing to talk about. We here. You can see it for yourself. We just captured the moment.”\u003c/p>\n\u003cp>The video serves as a testament to not only what Oakland is right now, but what it felt like back then — if not in the physical form, then at least in the spiritual realm. Due to relentless waves of gentrification that have dismantled so many community hubs, it’s hard to imagine what this video might’ve looked like if it came out in ‘05 instead of ‘24. That’s not lost on the artist.\u003c/p>\n\u003cp>“Some of my friends that were there when we made this [song], they’re no longer living,” says F.A.B. Same for physical landmarks that are no longer here: “When I talk about Goldenville, that was a project building we all grew up in. Know what I’m saying? I would’ve loved to get those kinds of buildings and people in it.”\u003c/p>\n\u003cp>F.A.B. even admits that he initially thought the video could’ve worked in black and white. But he’s ultimately glad it’s in color. The energy and liveliness of contemporary Oakland is exactly what he had hoped to convey, without diluting it or hyperbolizing it.\u003c/p>\n\u003cp>“The directors did a hell of a job of capturing the energy,” F.A.B. says. “If you ever wanted to know what Oakland looks like, here it is.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mistah F.A.B. hosts \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cw0sNjAywbV/\">\u003ci>Thug Therapy\u003c/i>\u003c/a>\u003ci>, a mental health check-in for men,  on first and third Wednesdays from 6 to 9 p.m. at Oakstop California Ballroom (1736 Franklin St., Oakland). The next event will be held on Wednesday, May 29 and feature Rick ‘Freeway Ricky’ Ross. Free entry, includes complimentary food and beverages.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"With fresh visuals, the 2005 anthem — which celebrates different sides of The Town — feels even more poignant today.","status":"publish","parent":0,"modified":1716401213,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1661},"headData":{"title":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later | KQED","description":"With fresh visuals, the 2005 anthem — which celebrates different sides of The Town — feels even more poignant today.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mistah F.A.B. Drops ‘N.E.W. Oakland’ Music Video, Nearly 20 Years Later","datePublished":"2024-05-21T15:01:47-07:00","dateModified":"2024-05-22T11:06:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957988","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957988/mistah-f-a-b-drops-n-e-w-oakland-music-video-nearly-20-years-later","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, when rapper \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\">Mistah F.A.B.\u003c/a> originally released “N.E.W. Oakland,” he was barely old enough to legally drink. Nearly 20 years later — now a veteran, community fixture and business savant — he’s finally decided to drop the video.\u003c/p>\n\u003cp>Mistah F.A.B. is known for pouring his all into The Town. In addition to running \u003ca href=\"https://www.instagram.com/dopeeraco/?hl=en\">Dope Era\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">a clothing shop that also offers a youth arts development component\u003c/a>), he recently began offering \u003ca href=\"https://www.youtube.com/watch?v=pVbQyGJGWgw\">Thug Therapy\u003c/a> (a free, bimonthly support group for men).  But “N.E.W. Oakland” shows how F.A.B. was bringing folks together long before that, with a call for pride and unity in the Oakland hip-hop scene.\u003c/p>\n\u003cp>The ode recounts each side of Oakland (the North, East and West) with a triumvirate of game-certified, lyrically diverse representatives: F.A.B., \u003ca href=\"https://www.instagram.com/trugstack/\">G-Stack\u003c/a> and \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a>. As a young, rising freestyle rapper, Mistah F.A.B. — the self-proclaimed “Prince of the O” — first got the idea when he ran into the pair of Oakland legends, whom he grew up idolizing.\u003c/p>\n\u003cp>“I was in the studio and was like, there go G-Stack, that’s a super pioneer for the culture with [his group] The Delinquents, and what they done for Oakland. Then Bavgate walked into the studio after that. He used to be with No Limit [Records], selling millions,” F.A.B. recalls. “I’m like, ‘I’m from the North, he’s from the East, he’s from the West.’ Let’s do a record about the whole Town being together.”\u003c/p>\n\u003cp>“I had a beat from E-A-Ski and I freestyled the hook,” he continues. “Everyone was like ‘Yeah, that’s cold.’ So we wrote our verses. [But] never would I have thought that ‘N.E.W Oakland’ would be a song that stands as a Bay Area anthem.”\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/_E0FIFuJZ64'\n title='//www.youtube.com/embed/_E0FIFuJZ64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike so many rap songs about warring factions, “N.E.W. Oakland” brings each side of Oakland together on equal footing, with shout-outs to each neighborhood’s markers. There may not be another hook with as much centrifugal gravity for all of Oakland as when F.A.B. shouts, “I got the North, got the East, got the West with me.”\u003c/p>\n\u003cp>At the time of the song’s release, F.A.B. says that North Oakland wasn’t receiving its proper respect, often being left out of the larger rap conversation, while East and West Oakland rappers got their shine. In the 2005 Keak Da Sneak track “Town Business,” for example, the raspy-voiced linguist rattles off a litany of Oakland locations — but none from the North side.\u003c/p>\n\u003cp>“That was a big record that summer,” F.A.B. says. “I was like ‘Damn, y’all didn’t say nothing about North Oakland.’ So when I did my verse [on ‘N.E.W. Oakland’], I started it out with the same cadence Keak used but it included areas from North Oakland. It was a friendly response to my big brother about how they forgot about us. It’s not no diss or anything. It’s just letting people know about the North.”\u003c/p>\n\u003cp>On the opening verse of “N.E.W. Oakland,” Fabby bombards listeners with references to “the North Pole” — Gaskill, Bushrod, 62nd, Goldenville. He then reminds the Bay Area that Oakland is bigger than its notorious East and West sides: “My side been forgot about and that’s what I’m hot about.” Then he enlists two lyrical giants from each contingent to tell their sides.\u003c/p>\n\u003cp>The song was instantly a hit on street corners, at house parties, lakeside cookouts, car cruises and more. And its unifying theme is surely part of the reason the new video struck such a deep chord with today’s audience after it premiered on May 10.\u003c/p>\n\u003cfigure id=\"attachment_11754468\" class=\"wp-caption alignnone\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11754468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg\" alt=\"Mistah F.A.B. headlines a show honoring the legacy of Oakland's Mac Dre\" width=\"1071\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mistah-FAB-960x565.jpg 960w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. made a name for himself during the hyphy movement with his unapologetic representation of North Oakland. \u003ccite>(Photo: Courtesy of Mistah F.A.B.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot and directed by Thee Shooters, the video is a mix of documentary and artistic angling, spanning each rapper’s turf — beginning in the North, then sliding through the Deep East and circling back to Ghost Town in the West. Despite the shift in eras (and technology), the 20-year-old song seems to have even gained a few octaves of trunk-rattling superpowers with each passing year.\u003c/p>\n\u003cp>Bay Area fans seem to agree that it slaps. The comment section under \u003ca href=\"https://www.instagram.com/p/C6zuz27xWyF/\">the “N.E.W. Oakland” video’s Instagram post\u003c/a> is like a group chat of diehard fans and major Bay Area personalities and institutions, including \u003ca href=\"https://www.kqed.org/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3\">Rexx Life Raj\u003c/a>, DB Tha General, 22nd Jim, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, The Grouch and more.\u003c/p>\n\u003cp>“Who here been waiting 20 years for this video button [100 emoji; fire emoji; clapping emoji],” one fan on \u003ca href=\"https://www.youtube.com/watch?v=_E0FIFuJZ64\">YouTube\u003c/a> wrote. “I’m 33 now, this slap came out when I was a freshman in high school!,” says another. And perhaps the one that hits the bullseye: “Maaannn, very smart release.”\u003c/p>\n\u003cp>If it feels rare for a rapper to reach into the archives and shoot original footage for a track that was released nearly a quarter-century ago, that’s because it is. For better or worse, hip-hop has often been presented as a genre of the moment, and the culture is still figuring out how to age gracefully and honor the past — particularly as some of its mainstay figures pass away, and others radically shift gears to stay relevant.\u003c/p>\n\u003cp>In that context, it’s compelling for three well-established rappers to come back in a way that is fresh, dynamic and genuine — not by trying to create a contemporary hit based on today’s TikTok trends, but to honor their past work together in a sincere way.\u003c/p>\n\u003cp>It begs the question: Why isn’t there more of this? If it’s the right song, and it came out at the right time, but there’s no existing video for it, then why not release a video after the fact?\u003c/p>\n\u003ch2>Capturing Oakland, then and now\u003c/h2>\n\u003cp>Back in the day, music videos were mostly financially out of reach for independent rappers — it could’ve cost $25,000 to $50,000 to film a proper one. Without record label budgets, artists learned how to survive out the trunk rather than aspiring for Hollywood’s recognition. In fact, most of Mistah F.A.B.’s legendary discography — along with many of the alpha rappers of his generation and prior — didn’t have official videos until later in their careers. They made mixtapes, and then there were bootleg mixes of pixelated slideshows created by avid fans on YouTube, long before social media existed.\u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption alignnone\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"1499\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w\" sizes=\"(max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For F.A.B., it only felt right to resuscitate an important moment in Oakland’s rap history by providing a video. The idea first came together organically during F.A.B.’s birthday party earlier this year; G-Stack and Bavgate were in attendance. F.A.B. realized he had a film crew available that could do what he didn’t have the ability to do at 21 years old. So he locked it in.\u003c/p>\n\u003cp>“Documentation supersedes conversation,” says Mistah F.A.B., like a professor about to freestyle an entire dissertation. “When it’s locked in, there’s nothing to talk about. We here. You can see it for yourself. We just captured the moment.”\u003c/p>\n\u003cp>The video serves as a testament to not only what Oakland is right now, but what it felt like back then — if not in the physical form, then at least in the spiritual realm. Due to relentless waves of gentrification that have dismantled so many community hubs, it’s hard to imagine what this video might’ve looked like if it came out in ‘05 instead of ‘24. That’s not lost on the artist.\u003c/p>\n\u003cp>“Some of my friends that were there when we made this [song], they’re no longer living,” says F.A.B. Same for physical landmarks that are no longer here: “When I talk about Goldenville, that was a project building we all grew up in. Know what I’m saying? I would’ve loved to get those kinds of buildings and people in it.”\u003c/p>\n\u003cp>F.A.B. even admits that he initially thought the video could’ve worked in black and white. But he’s ultimately glad it’s in color. The energy and liveliness of contemporary Oakland is exactly what he had hoped to convey, without diluting it or hyperbolizing it.\u003c/p>\n\u003cp>“The directors did a hell of a job of capturing the energy,” F.A.B. says. “If you ever wanted to know what Oakland looks like, here it is.”\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>\u003ci>Mistah F.A.B. hosts \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cw0sNjAywbV/\">\u003ci>Thug Therapy\u003c/i>\u003c/a>\u003ci>, a mental health check-in for men,  on first and third Wednesdays from 6 to 9 p.m. at Oakstop California Ballroom (1736 Franklin St., Oakland). The next event will be held on Wednesday, May 29 and feature Rick ‘Freeway Ricky’ Ross. Free entry, includes complimentary food and beverages.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957988/mistah-f-a-b-drops-n-e-w-oakland-music-video-nearly-20-years-later","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_5016","arts_10278","arts_13352","arts_1768","arts_1143","arts_974","arts_2533"],"featImg":"arts_13934346","label":"arts"},"arts_13958567":{"type":"posts","id":"arts_13958567","meta":{"index":"posts_1716263798","site":"arts","id":"13958567","found":true},"guestAuthors":[],"slug":"bottlerock-2024-photo-highlights-recap","title":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock","publishDate":1716834167,"format":"standard","headTitle":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It truly felt like the start of Hot Girl Summer this weekend, when tens of thousands of fans descended upon the Napa Valley Expo to see Megan Thee Stallion, Stevie Nicks, Pearl Jam and Ed Sheeran at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>. Taking place May 24–26, the Wine Country music festival paired a star-studded, multigenerational lineup with the region’s food and beverage offerings.\u003c/p>\n\u003cp>On Friday, Nelly served up 2000s hip-hop nostalgia, while St. Vincent serenaded the crowd with indie rock at once operatic, gritty and funky. Megan Thee Stallion telegraphed raw confidence and sexual power when she took the stage during her explosive Friday night set. On the opposite stage, Nicks, one of rock ’n’ roll’s all-time greats, had fans of all ages singing and swaying with nostalgia. [aside postid='arts_13958544']\u003c/p>\n\u003cp>Saturday represented a powerful moment of ascension for Vallejo hometown hero LaRussell, whose heartfelt rhymes charmed the crowd right before Pearl Jam headlined at sunset. Later in the evening, Kali Uchis’ pirouetting vocals enraptured the audience as she telegraphed goddess-like feminine power.\u003c/p>\n\u003cp>BottleRock closed out Sunday with Sheeran, high-octane ’90s rockers Queens of the Stone Age and mellow vibes from Stephen Marley. Photographer Estefany Gonzalez was there to capture all the moments of joy and musical celebration. Take a look at her highlights below.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13958587\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958592\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958591\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shanaya Stephenson, Crystal Nattoo, and Stephanie Yang wear anime-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958598\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958595\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Doyle (left) and her husband Caleb Schneider dance as Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958583\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Loveless performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958582\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Williams (left) and Anyei Smith pose for a portrait in their western-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. The two traveled from San Jose to attend the festival and decorated their cowboy hats by hand in honor of Texan artist Megan Thee Stallion. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958603\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958602\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958613\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alisha Mays (center) twerks from the crowd as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Luna (right) dances with friends in front of the Verizon Stage as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958617\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958620\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958621\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival-goers stroll across the vibrant grounds of BottleRock Napa Valley on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958622\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees sprawl across the lively expanse of BottleRock Napa Valley, soaking in the festival atmosphere on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bianca Del Rio, left, Neil Patrick Harris, and David Burtka host a panel at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">T-Pain performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Steph Curry signs 13-year-old Deven Patel’s sneakers on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of fans gather to watch Golden State Warriors’ Steph Curry, Bradley Cooper and Chef Jose Andrés on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958635\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-time BottleRock Attendees Allyson Van de Mark (right) and her husband Jacob Davis dance in front of the Truly Stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958637\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Deep Sea Diver performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958643\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Osmara Venegas, Marilyn Martin and Griselda Ochoa dance at the lively silent disco during BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958648\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock attendees lounge at the Spa at BottleRock Napa Valley festival on Sunday, May 26, 2024. The Spa allows BottleRock attendees to purchase foot and body massages, mini facials, hair styling and braiding, glitter makeup, custom festival jewelry, and hydration therapy for attendees to rest, recover or glam up. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Action Bronson performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Norah Jones performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958656\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958656\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958657\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Offspring performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958658\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ariel Thomas (left) and her 5-year-old daughter Aurora Duarte soak in The Offspring’s performance from the front row of the Verizon Stage at BottleRock Napa Valley festival on Sunday, May 26, 2024. The duo journeyed from Modesto for Duarte’s first concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (center) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (left) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958670\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958674\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Queens of the Stone Age perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958677\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13958600\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Napa music festival ushered in the summer with a star-studded lineup.","status":"publish","parent":0,"modified":1716834167,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":1260},"headData":{"title":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock | KQED","description":"The Napa music festival ushered in the summer with a star-studded lineup.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"PHOTOS: Megan Thee Stallion, Ed Sheeran and More Light Up BottleRock","datePublished":"2024-05-27T11:22:47-07:00","dateModified":"2024-05-27T11:22:47-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958567","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958567/bottlerock-2024-photo-highlights-recap","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It truly felt like the start of Hot Girl Summer this weekend, when tens of thousands of fans descended upon the Napa Valley Expo to see Megan Thee Stallion, Stevie Nicks, Pearl Jam and Ed Sheeran at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>. Taking place May 24–26, the Wine Country music festival paired a star-studded, multigenerational lineup with the region’s food and beverage offerings.\u003c/p>\n\u003cp>On Friday, Nelly served up 2000s hip-hop nostalgia, while St. Vincent serenaded the crowd with indie rock at once operatic, gritty and funky. Megan Thee Stallion telegraphed raw confidence and sexual power when she took the stage during her explosive Friday night set. On the opposite stage, Nicks, one of rock ’n’ roll’s all-time greats, had fans of all ages singing and swaying with nostalgia. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958544","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday represented a powerful moment of ascension for Vallejo hometown hero LaRussell, whose heartfelt rhymes charmed the crowd right before Pearl Jam headlined at sunset. Later in the evening, Kali Uchis’ pirouetting vocals enraptured the audience as she telegraphed goddess-like feminine power.\u003c/p>\n\u003cp>BottleRock closed out Sunday with Sheeran, high-octane ’90s rockers Queens of the Stone Age and mellow vibes from Stephen Marley. Photographer Estefany Gonzalez was there to capture all the moments of joy and musical celebration. Take a look at her highlights below.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13958587\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958592\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958591\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shanaya Stephenson, Crystal Nattoo, and Stephanie Yang wear anime-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958598\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958595\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Doyle (left) and her husband Caleb Schneider dance as Gogol Bordello perform at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958583\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Loveless performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958582\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_03-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Williams (left) and Anyei Smith pose for a portrait in their western-inspired outfits during the BottleRock Napa Valley festival on Friday, May 24, 2024. The two traveled from San Jose to attend the festival and decorated their cowboy hats by hand in honor of Texan artist Megan Thee Stallion. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958603\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_24-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958602\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958613\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alisha Mays (center) twerks from the crowd as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Luna (right) dances with friends in front of the Verizon Stage as Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958617\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_38-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958620\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958621\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival-goers stroll across the vibrant grounds of BottleRock Napa Valley on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958622\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees sprawl across the lively expanse of BottleRock Napa Valley, soaking in the festival atmosphere on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bianca Del Rio, left, Neil Patrick Harris, and David Burtka host a panel at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">T-Pain performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Steph Curry signs 13-year-old Deven Patel’s sneakers on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of fans gather to watch Golden State Warriors’ Steph Curry, Bradley Cooper and Chef Jose Andrés on the William’s Sonoma culinary stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958635\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-time BottleRock Attendees Allyson Van de Mark (right) and her husband Jacob Davis dance in front of the Truly Stage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958637\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Deep Sea Diver performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958643\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Osmara Venegas, Marilyn Martin and Griselda Ochoa dance at the lively silent disco during BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pearl Jam performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958648\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock attendees lounge at the Spa at BottleRock Napa Valley festival on Sunday, May 26, 2024. The Spa allows BottleRock attendees to purchase foot and body massages, mini facials, hair styling and braiding, glitter makeup, custom festival jewelry, and hydration therapy for attendees to rest, recover or glam up. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Action Bronson performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Norah Jones performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958656\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958656\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_10-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958657\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Offspring performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958658\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ariel Thomas (left) and her 5-year-old daughter Aurora Duarte soak in The Offspring’s performance from the front row of the Verizon Stage at BottleRock Napa Valley festival on Sunday, May 26, 2024. The duo journeyed from Modesto for Duarte’s first concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (center) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran (left) joins The Offspring on stage for a special performance at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958670\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958674\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_28-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Queens of the Stone Age perform at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran performs at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958677\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_31-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay3_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wave their glowing smartphones in unison as Ed Sheeran serenades the crowd at BottleRock Napa Valley festival on Sunday, May 26, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13958600\" alt=\"\">\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>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958567/bottlerock-2024-photo-highlights-recap","authors":["11387","11384"],"categories":["arts_1","arts_69"],"tags":["arts_1853","arts_10278"],"featImg":"arts_13958611","label":"arts"},"arts_13958699":{"type":"posts","id":"arts_13958699","meta":{"index":"posts_1716263798","site":"arts","id":"13958699","found":true},"guestAuthors":[],"slug":"dr-jack-turban-free-to-be-simon-schuster","title":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth","publishDate":1716923092,"format":"standard","headTitle":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. [aside postid='arts_13926077']\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. [aside postid='arts_13957070']\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” [aside postid='arts_13955066']\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” [aside postid='news_11966077']\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. [aside postid='arts_13858877']\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jack Turban cuts through the noise of anti-trans panic with research and real-life patient stories. ","status":"publish","parent":0,"modified":1716923292,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1582},"headData":{"title":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth | KQED","description":"Jack Turban cuts through the noise of anti-trans panic with research and real-life patient stories. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth","datePublished":"2024-05-28T12:04:52-07:00","dateModified":"2024-05-28T12:08:12-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/arts/tag/commentary","sticky":false,"nprByline":"Veronica Esposito ","nprStoryId":"kqed-13958699","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958699/dr-jack-turban-free-to-be-simon-schuster","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\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>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957070","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11966077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\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>\u003cem>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958699/dr-jack-turban-free-to-be-simon-schuster","authors":["byline_arts_13958699"],"categories":["arts_1","arts_73","arts_2303","arts_835"],"tags":["arts_14452","arts_2767","arts_10278","arts_3226","arts_702"],"featImg":"arts_13958700","label":"source_arts_13958699"},"arts_13958512":{"type":"posts","id":"arts_13958512","meta":{"index":"posts_1716263798","site":"arts","id":"13958512","found":true},"guestAuthors":[],"slug":"the-last-murder-at-the-end-of-the-world-is-a-story-of-survival-and-memory","title":"‘The Last Murder at the End of the World’ Is a Story of Survival and Memory","publishDate":1716578990,"format":"aside","headTitle":"‘The Last Murder at the End of the World’ Is a Story of Survival and Memory | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13958515\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM.png\" alt=\"A book cover featuring an illustration of a lighthouse at dawn.\" width=\"844\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM-800x1151.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM-768x1105.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘The Last Murder at the End of the World’ by Stuart Turton. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stuart Turton’s \u003cem>The Last Murder at the End of the World\u003c/em> is a wild amalgamation of genre elements that pulls readers into a unique postapocalyptic world in which another end is imminent. Told with surprising speed, given its depth and scope, this bizarre whodunit also works as a science fiction allegory full of mystery that contemplates the end of the world and what it means to be human.\u003c/p>\n\u003cp>After a deadly fog destroyed the world and killed most of humanity 90 years ago, the few remaining survivors established themselves on a small Greek island and began salvaging whatever they could. Now, 122 villagers and three scientists share life on the island, working the land, taking care of each other, and respecting a strange set of rules and a curfew that makes them all go to bed and wake up at the same time. They also share an AI voice that lives inside their head and operates like their conscience.\u003c/p>\n\u003cp>[aside postid='arts_13958337']Outside the island, the same deadly fog that ended the world still exists, and it sometimes comes on land, which makes it a constant threat. When one of the scientists is murdered, the islanders lose the only protection they had against the fog. If they don’t solve the murder soon, the fog will cover the island and kill everyone. Unfortunately, the same security system failure that could allow the fog to take over the island has also erased everyone’s memories of what happened during the night before. This means that no one remembers seeing anything — and that maybe even the person who committed the murder might not remember they did it.\u003c/p>\n\u003cp>\u003cem>The Last Murder at the End of the World\u003c/em> works well, and it does so on two different levels. Right at the surface, this is a wonderful hybrid that blends postapocalyptic science fiction with a murder mystery. The elements of those genres never overpower each other. In fact, they complement each other and help Turton redefine the whodunit. The science fiction elements — the end of the world, the AI inside everyone’s head, the gems that can contain a person’s memories, the way people can buy memories to experience things — are interesting and make the narrative more engaging, while also placing the novel comfortably in the terrain of smart speculative fiction. Meanwhile, the murder mystery occupies center stage in a story where new revelations are always around the corner and where nothing is exactly at it seems.\u003c/p>\n\u003cp>While genre elements are right at the surface here, \u003cem>The Last Murder at the End of the World\u003c/em> is also a deep novel about big ideas. Turton delves deep into the way humans tend to fight each other, for example. He also addresses the end of the world obliquely, with only short descriptions of how it happened and a few details about how some of the characters who were part of the original group of survivors fared after the fog killed almost everyone. Also, the narrative deals a lot with control — who possesses it and why and how it often comes accompanied by some kind of dishonesty. The plethora of ideas Turton plays with makes this a wonderfully layered story that’s about much more than a mysterious murder no one can remember.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trekking into uncharted territory is always tricky, and that means narratives that do so might have slight flaws from their perilous journeys. In the case of \u003cem>The Last Murder at the End of the World\u003c/em>, there are only two small blemishes, which isn’t much when considering everything Turton accomplishes with the novel. The first one is that the large cast of characters prevented Turton from giving them all the same level of character development. The second is that despite short chapters and dialogue that carries the action well, the pacing isn’t constant and the telling feels a tad mechanical in some passages, probably because of everything that’s going on in the story, and the need to push things forward at all times while also engaging with big ideas.\u003c/p>\n\u003cp>[aside postid='arts_13958207']\u003cem>The Last Murder at the End of the World\u003c/em> is a gripping tale that reads like a Sherlock Holmes novel set in a broken future. This is a novel that explores what makes us human but that does so with characters that aren’t all human and with a narrator that is an artificial intelligence that may or may not know more about the future than everyone else. Turton is an exciting writer with a knack for strange tales that push the envelope, and this strange story of murder, survival, and the importance of memory might be his best work yet.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Murder at the End of the World’ by Stuart Turton is out now via Sourcebooks.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Stuart Turton’s blending of whodunit, sci-fi and dystopia makes for his most exciting book yet.","status":"publish","parent":0,"modified":1716579014,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":853},"headData":{"title":"Book Review: ‘The Last Murder at the End of the World,’ Turton | KQED","description":"Stuart Turton’s blending of whodunit, sci-fi and dystopia makes for his most exciting book yet.","ogTitle":"'The Last Murder at the End of the World' Is a Story of Survival and Memory","ogDescription":"","ogImgId":"","twTitle":"'The Last Murder at the End of the World' Is a Story of Survival and Memory","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘The Last Murder at the End of the World,’ Turton %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Last Murder at the End of the World’ Is a Story of Survival and Memory","datePublished":"2024-05-24T12:29:50-07:00","dateModified":"2024-05-24T12:30:14-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Gabino Iglesias, NPR","nprStoryId":"kqed-13958512","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958512/the-last-murder-at-the-end-of-the-world-is-a-story-of-survival-and-memory","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958515\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM.png\" alt=\"A book cover featuring an illustration of a lighthouse at dawn.\" width=\"844\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM-800x1151.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-24-at-12.07.16-PM-768x1105.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘The Last Murder at the End of the World’ by Stuart Turton. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stuart Turton’s \u003cem>The Last Murder at the End of the World\u003c/em> is a wild amalgamation of genre elements that pulls readers into a unique postapocalyptic world in which another end is imminent. Told with surprising speed, given its depth and scope, this bizarre whodunit also works as a science fiction allegory full of mystery that contemplates the end of the world and what it means to be human.\u003c/p>\n\u003cp>After a deadly fog destroyed the world and killed most of humanity 90 years ago, the few remaining survivors established themselves on a small Greek island and began salvaging whatever they could. Now, 122 villagers and three scientists share life on the island, working the land, taking care of each other, and respecting a strange set of rules and a curfew that makes them all go to bed and wake up at the same time. They also share an AI voice that lives inside their head and operates like their conscience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958337","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Outside the island, the same deadly fog that ended the world still exists, and it sometimes comes on land, which makes it a constant threat. When one of the scientists is murdered, the islanders lose the only protection they had against the fog. If they don’t solve the murder soon, the fog will cover the island and kill everyone. Unfortunately, the same security system failure that could allow the fog to take over the island has also erased everyone’s memories of what happened during the night before. This means that no one remembers seeing anything — and that maybe even the person who committed the murder might not remember they did it.\u003c/p>\n\u003cp>\u003cem>The Last Murder at the End of the World\u003c/em> works well, and it does so on two different levels. Right at the surface, this is a wonderful hybrid that blends postapocalyptic science fiction with a murder mystery. The elements of those genres never overpower each other. In fact, they complement each other and help Turton redefine the whodunit. The science fiction elements — the end of the world, the AI inside everyone’s head, the gems that can contain a person’s memories, the way people can buy memories to experience things — are interesting and make the narrative more engaging, while also placing the novel comfortably in the terrain of smart speculative fiction. Meanwhile, the murder mystery occupies center stage in a story where new revelations are always around the corner and where nothing is exactly at it seems.\u003c/p>\n\u003cp>While genre elements are right at the surface here, \u003cem>The Last Murder at the End of the World\u003c/em> is also a deep novel about big ideas. Turton delves deep into the way humans tend to fight each other, for example. He also addresses the end of the world obliquely, with only short descriptions of how it happened and a few details about how some of the characters who were part of the original group of survivors fared after the fog killed almost everyone. Also, the narrative deals a lot with control — who possesses it and why and how it often comes accompanied by some kind of dishonesty. The plethora of ideas Turton plays with makes this a wonderfully layered story that’s about much more than a mysterious murder no one can remember.\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>Trekking into uncharted territory is always tricky, and that means narratives that do so might have slight flaws from their perilous journeys. In the case of \u003cem>The Last Murder at the End of the World\u003c/em>, there are only two small blemishes, which isn’t much when considering everything Turton accomplishes with the novel. The first one is that the large cast of characters prevented Turton from giving them all the same level of character development. The second is that despite short chapters and dialogue that carries the action well, the pacing isn’t constant and the telling feels a tad mechanical in some passages, probably because of everything that’s going on in the story, and the need to push things forward at all times while also engaging with big ideas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958207","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Last Murder at the End of the World\u003c/em> is a gripping tale that reads like a Sherlock Holmes novel set in a broken future. This is a novel that explores what makes us human but that does so with characters that aren’t all human and with a narrator that is an artificial intelligence that may or may not know more about the future than everyone else. Turton is an exciting writer with a knack for strange tales that push the envelope, and this strange story of murder, survival, and the importance of memory might be his best work yet.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Murder at the End of the World’ by Stuart Turton is out now via Sourcebooks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958512/the-last-murder-at-the-end-of-the-world-is-a-story-of-survival-and-memory","authors":["byline_arts_13958512"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_21817","arts_5221","arts_769","arts_3797","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13958516","label":"arts_140"},"arts_13958466":{"type":"posts","id":"arts_13958466","meta":{"index":"posts_1716263798","site":"arts","id":"13958466","found":true},"guestAuthors":[],"slug":"la-vics-orange-sauce-la-victoria-taqueria-late-night-san-jose","title":"Taquerias Come and Go, but La Vic’s Orange Sauce Is Forever","publishDate":1716510433,"format":"aside","headTitle":"Taquerias Come and Go, but La Vic’s Orange Sauce Is Forever | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13958470\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics.jpg\" alt=\"Illustration: Two men devour tacos and burritos while pouring hot sauce from squeeze bottles directly into their mouths.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Jose’s La Victoria Taqueria (aka La Vic’s), is famous for its orange sauce — and for feeding hungry college students until 3 a.m. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>I’ve never stumbled into \u003ca href=\"https://www.lavicsj.com/\">La Victoria Taqueria\u003c/a> at 2 o’clock in the morning, bleary-eyed and half-starving midway through a six-hour cram session during finals week at San Jose State. Never crushed a plate of carne asada fries, half-drunk, after a night of dancing at Agenda or SJ Live back in the day.\u003c/p>\n\u003cp>So my devotion to La Vic’s legendary orange sauce — the creamy, chile-flecked condiment that spawned a hundred imitators — is merely practical rather than religious. I just think it’s one of the most delicious hot sauces in the Bay Area. Almost certainly the most delicious you can get your hands on at 3 a.m.\u003c/p>\n\u003cp>And after our recent late-night visit, I think I understand the hype.\u003c/p>\n\u003cp>Open since 1998, the original San Carlos Street location of La Vic’s sits kitty-corner to SJSU’s main campus, inside a cheery, slightly ramshackle old house — like a cartoon Victorian where a child detective goes mystery hunting. The family-owned taqueria offers a very standard college town burrito shop menu: enormously overstuffed tacos and burritos, quesadillas and loaded nachos and fries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only difference is that everywhere you look, there’s orange sauce. Twelve-ounce squeeze bottles on every table, and lined up in the fridge case behind the counter. Multiple orange sauce posters on the walls. College kids — so many college kids, in gym shorts or decked out for a night at the club — ordering extra tubs of orange sauce to go with their takeout burritos. Even the cup for our agua fresca was decorated with a picture of a bottle of orange sauce. (“Orange you glad you tried,” reads the tagline.)\u003c/p>\n\u003cfigure id=\"attachment_13958473\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2.jpg\" alt=\"Illustration: Exterior of La Victoria Taqueria, in an old Victorian house, lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The original La Vic’s is located in downtown San Jose, right across the street from San Jose State University. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, if we’re being strictly honest, there are plenty of taquerias in San Jose — and all around the Bay — where you can get a tastier, more well-constructed burrito than the ones La Vic’s is rolling out these days. You can find more flavorful carnitas and juicier, less gristly carne asada. There are other restaurants that do a better job of piling meat and cheese on top of French fries.\u003c/p>\n\u003cp>But man does that orange sauce paper over a thousand sins.\u003c/p>\n\u003cp>Like any well-guarded family recipe, the actual contents of the sauce are shrouded in secrecy and wild speculation. In \u003ca href=\"https://www.mercurynews.com/2022/07/07/san-jose-orange-sauce-taco-burrito-la-victoria-recipe/\">public interviews\u003c/a>, La Vic’s owners have only revealed a handful of obvious ingredients: garlic, onions, tomatoes, dried red chiles. Meanwhile, orange-sauce conspiracy theorists have long debated the source of the sauce’s telltale creaminess, which has been rumored to come from crushed-up crackers, mayonnaise and even leftover chorizo grease (!). The restaurant, for its part, stresses that the sauce has always been \u003ca href=\"https://www.sfgate.com/food/article/La-Victoria-orange-sauce-is-secret-17081821.php\">100% vegan\u003c/a>. (I, and most \u003ca href=\"https://www.reddit.com/r/SalsaSnobs/comments/191wyaw/update_la_victorias_orange_sauce_aka_san_jose/\">copycat recipes\u003c/a>, suspect the creaminess just comes from emulsified vegetable oil.)\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13958041,arts_13955884,arts_13954983']\u003c/span>\u003c/span>Whatever the secret, La Vic’s orange sauce is delicious. It has a bright, garlicky heat that immediately perks up the palate and a tanginess that keeps it from being overly heavy, making it a natural foil to salty grilled meats. And we loved how the sauce’s slightly dense, creamy texture allows it to cling to surfaces instead of making the food soggy like your typical watery salsa.\u003c/p>\n\u003cp>We also figured out how, if you order smartly, you can put together a legitimately solid meal at La Vic’s, even apart from squirting orange sauce onto every bite. First pro tip: It’s the super tacos, not the burritos, that are the star of the menu, especially if you order them with lengua, which is the tastiest and most tender of the meat options. The super tacos feature thick, double-stacked tortillas that the taqueros will crisp up on request, and they’re loaded with guacamole and sour cream, which provide a refreshing tang.\u003c/p>\n\u003cp>Second tip: Don’t sleep on the zippy and criminally underrated green sauce, which some La Vic’s loyalists like even better than the orange sauce.\u003c/p>\n\u003cp>Third: It’s true that the carne asada fries, which come loaded with steak, nacho cheese, sour cream and guac, are the ideal drunk food. But the fries here aren’t especially crispy, and it’s only a matter of minutes before the whole thing turns into a soggy mess. Consider instead the nachos. They have a much more resilient crunch and are, in my view, the perfect vessel for orange sauce.\u003c/p>\n\u003cp>Unless you count my own cooking, that is. Like so many other La Vic’s initiates, I dropped $8 on a bottle of the sauce to bring home — to test if it does, in fact, taste amazing on everything, like so many of the glowing reviews I’d read. For the past couple of weeks, I’ve been putting it on scrambled eggs and homemade carnitas, stirring it into bowls of rice and beans. And it really is true: I haven’t been disappointed yet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lavicsj.com/\">\u003ci>La Victoria Taqueria\u003c/i>\u003c/a>\u003ci> has six Bay Area locations, mostly in San Jose. The original location at 140 E. San Carlos St. is open from 7 a.m.–3 a.m. daily.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The San Jose institution has fed hungry college students late into the night for more than 25 years.","status":"publish","parent":0,"modified":1716567006,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":990},"headData":{"title":"La Victoria’s Orange Sauce Is a Late-Night Legend in San Jose | KQED","description":"The San Jose institution has fed hungry college students late into the night for more than 25 years.","ogTitle":"Taquerias Come and Go, but La Vic’s Orange Sauce Is Forever","ogDescription":"","ogImgId":"","twTitle":"Taquerias Come and Go, but La Vic’s Orange Sauce Is Forever","twDescription":"","twImgId":"","socialTitle":"La Victoria’s Orange Sauce Is a Late-Night Legend in San Jose %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Taquerias Come and Go, but La Vic’s Orange Sauce Is Forever","datePublished":"2024-05-23T17:27:13-07:00","dateModified":"2024-05-24T09:10:06-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13958466","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958466/la-vics-orange-sauce-la-victoria-taqueria-late-night-san-jose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958470\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics.jpg\" alt=\"Illustration: Two men devour tacos and burritos while pouring hot sauce from squeeze bottles directly into their mouths.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Jose’s La Victoria Taqueria (aka La Vic’s), is famous for its orange sauce — and for feeding hungry college students until 3 a.m. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>I’ve never stumbled into \u003ca href=\"https://www.lavicsj.com/\">La Victoria Taqueria\u003c/a> at 2 o’clock in the morning, bleary-eyed and half-starving midway through a six-hour cram session during finals week at San Jose State. Never crushed a plate of carne asada fries, half-drunk, after a night of dancing at Agenda or SJ Live back in the day.\u003c/p>\n\u003cp>So my devotion to La Vic’s legendary orange sauce — the creamy, chile-flecked condiment that spawned a hundred imitators — is merely practical rather than religious. I just think it’s one of the most delicious hot sauces in the Bay Area. Almost certainly the most delicious you can get your hands on at 3 a.m.\u003c/p>\n\u003cp>And after our recent late-night visit, I think I understand the hype.\u003c/p>\n\u003cp>Open since 1998, the original San Carlos Street location of La Vic’s sits kitty-corner to SJSU’s main campus, inside a cheery, slightly ramshackle old house — like a cartoon Victorian where a child detective goes mystery hunting. The family-owned taqueria offers a very standard college town burrito shop menu: enormously overstuffed tacos and burritos, quesadillas and loaded nachos and fries.\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 only difference is that everywhere you look, there’s orange sauce. Twelve-ounce squeeze bottles on every table, and lined up in the fridge case behind the counter. Multiple orange sauce posters on the walls. College kids — so many college kids, in gym shorts or decked out for a night at the club — ordering extra tubs of orange sauce to go with their takeout burritos. Even the cup for our agua fresca was decorated with a picture of a bottle of orange sauce. (“Orange you glad you tried,” reads the tagline.)\u003c/p>\n\u003cfigure id=\"attachment_13958473\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2.jpg\" alt=\"Illustration: Exterior of La Victoria Taqueria, in an old Victorian house, lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lavics2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The original La Vic’s is located in downtown San Jose, right across the street from San Jose State University. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, if we’re being strictly honest, there are plenty of taquerias in San Jose — and all around the Bay — where you can get a tastier, more well-constructed burrito than the ones La Vic’s is rolling out these days. You can find more flavorful carnitas and juicier, less gristly carne asada. There are other restaurants that do a better job of piling meat and cheese on top of French fries.\u003c/p>\n\u003cp>But man does that orange sauce paper over a thousand sins.\u003c/p>\n\u003cp>Like any well-guarded family recipe, the actual contents of the sauce are shrouded in secrecy and wild speculation. In \u003ca href=\"https://www.mercurynews.com/2022/07/07/san-jose-orange-sauce-taco-burrito-la-victoria-recipe/\">public interviews\u003c/a>, La Vic’s owners have only revealed a handful of obvious ingredients: garlic, onions, tomatoes, dried red chiles. Meanwhile, orange-sauce conspiracy theorists have long debated the source of the sauce’s telltale creaminess, which has been rumored to come from crushed-up crackers, mayonnaise and even leftover chorizo grease (!). The restaurant, for its part, stresses that the sauce has always been \u003ca href=\"https://www.sfgate.com/food/article/La-Victoria-orange-sauce-is-secret-17081821.php\">100% vegan\u003c/a>. (I, and most \u003ca href=\"https://www.reddit.com/r/SalsaSnobs/comments/191wyaw/update_la_victorias_orange_sauce_aka_san_jose/\">copycat recipes\u003c/a>, suspect the creaminess just comes from emulsified vegetable oil.)\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958041,arts_13955884,arts_13954983","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Whatever the secret, La Vic’s orange sauce is delicious. It has a bright, garlicky heat that immediately perks up the palate and a tanginess that keeps it from being overly heavy, making it a natural foil to salty grilled meats. And we loved how the sauce’s slightly dense, creamy texture allows it to cling to surfaces instead of making the food soggy like your typical watery salsa.\u003c/p>\n\u003cp>We also figured out how, if you order smartly, you can put together a legitimately solid meal at La Vic’s, even apart from squirting orange sauce onto every bite. First pro tip: It’s the super tacos, not the burritos, that are the star of the menu, especially if you order them with lengua, which is the tastiest and most tender of the meat options. The super tacos feature thick, double-stacked tortillas that the taqueros will crisp up on request, and they’re loaded with guacamole and sour cream, which provide a refreshing tang.\u003c/p>\n\u003cp>Second tip: Don’t sleep on the zippy and criminally underrated green sauce, which some La Vic’s loyalists like even better than the orange sauce.\u003c/p>\n\u003cp>Third: It’s true that the carne asada fries, which come loaded with steak, nacho cheese, sour cream and guac, are the ideal drunk food. But the fries here aren’t especially crispy, and it’s only a matter of minutes before the whole thing turns into a soggy mess. Consider instead the nachos. They have a much more resilient crunch and are, in my view, the perfect vessel for orange sauce.\u003c/p>\n\u003cp>Unless you count my own cooking, that is. Like so many other La Vic’s initiates, I dropped $8 on a bottle of the sauce to bring home — to test if it does, in fact, taste amazing on everything, like so many of the glowing reviews I’d read. For the past couple of weeks, I’ve been putting it on scrambled eggs and homemade carnitas, stirring it into bowls of rice and beans. And it really is true: I haven’t been disappointed yet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lavicsj.com/\">\u003ci>La Victoria Taqueria\u003c/i>\u003c/a>\u003ci> has six Bay Area locations, mostly in San Jose. The original location at 140 E. San Carlos St. is open from 7 a.m.–3 a.m. daily.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958466/la-vics-orange-sauce-la-victoria-taqueria-late-night-san-jose","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_21731","arts_10278","arts_1297","arts_8805","arts_14985","arts_1084","arts_14984","arts_21928"],"featImg":"arts_13958472","label":"source_arts_13958466"},"arts_13958311":{"type":"posts","id":"arts_13958311","meta":{"index":"posts_1716263798","site":"arts","id":"13958311","found":true},"guestAuthors":[],"slug":"best-new-books-summer-2024-npr-critics-picks","title":"20 New Books Hitting Shelves This Summer That NPR Critics Can’t Wait to Read","publishDate":1716400569,"format":"standard","headTitle":"20 New Books Hitting Shelves This Summer That NPR Critics Can’t Wait to Read | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>[aside postid='arts_13957998']June is around the corner, meaning summer is almost here! As we look forward to travel and staycations, plane rides and trips to the beach, we’ve asked our book critics for some advice: What upcoming fiction and nonfiction are they most looking forward to reading?\u003c/p>\n\u003cp>Their picks range from memoirs to sci-fi and fantasy to translations, love stories and everything in between. Here’s a look:\u003c/p>\n\u003chr>\n\u003ch3>June\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/daughter_custom-b786e59ae645b23b705710ab415dc3a27f150a5f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Redhook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Daughter of the Merciful Deep’ by Leslye Penelope\u003c/strong>\u003c/p>\n\u003cp>I was hooked when I first saw the gorgeous cover for \u003cem>Daughter of the Merciful Deep\u003c/em> by Leslye Penelope. But the novel’s premise put it at the top of my summer reading list. Penelope is known for unforgettable characters, world-building, beautiful writing and robust storytelling. Her latest work, inspired by actual events — the drowned Black towns of the American South — promises a magical, mythical and powerful tale of a young woman’s quest to save her town. A historical fantasy must-read. (June 4) — \u003cem>Denny Bryce\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/futurewascolor_custom-8cf072dcb45a69feb8bf38d30adb3a03422fce58.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Counterpoint LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Future Was Color’ by Patrick Nathan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Future Was Color\u003c/em> by Patrick Nathan has everything I look for in a book: a unique and startling voice, a queer protagonist and a deep understanding of a particular time and place. George — once György — is a gay Hungarian immigrant working as a screenwriter in McCarthy-era Hollywood, occasionally fantasizing about his officemate, Jack. When a once-famous actress named Madeline invites George to stay and write at her spacious Malibu house, she won’t take no for an answer — and so George finds himself in a hedonistic milieu where pleasure, politics and strong personalities intermingle. (June 4) — \u003cem>Ilana Masad\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/mirrored_custom-278fb8c0571ce760702cf2f0b0e763480f39862b.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (S&S/Saga Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Mirrored Heavens: Between Earth & Sky, Book 3’ by Rebecca Roanhorse\u003c/strong>\u003c/p>\n\u003cp>Rebecca Roanhorse is one of my auto-read authors — and one major reason is because of her fire \u003cem>Between Earth and Sky\u003c/em> series. That trilogy comes to a stunning, fevered conclusion with \u003cem>Mirrored Heavens\u003c/em>. All of the characters you love, hate and love to hate will converge on the city of Tova. Get ready for an epic battle between ancient gods, their human avatars and the mortals caught in between. (June 4) \u003cem>— Alex Brown\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/singlikefish_custom-08ec44af144d163477bad03e23664864c096488f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sing Like Fish: How Sound Rules Life Under Water’ by Amorina Kingdon\u003c/strong>\u003c/p>\n\u003cp>You may know about \u003ca href=\"https://www.theguardian.com/environment/2021/jul/13/loneliest-whale-in-the-world-search\">52 Blue\u003c/a>, whose vocalizations likely go unheard by some other whales; it captured worldwide sympathy and became a pop-culture metaphor. But did you know \u003cem>all\u003c/em> \u003ca href=\"https://www.bbc.com/news/science-environment-68358414\">whale song is critically disrupted by ships\u003c/a>? If that gets you wondering, keep an eye out for \u003cem>Sing Like Fish\u003c/em>, which promises to illuminate the fragile symphony of the deep. (June 4) —\u003cem> Genevieve Valentine\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/consent_custom-08d1ad496975300988db3f69077a2990ae9a4073.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Consent: A Memoir’ by Jill Ciment\u003c/strong>\u003c/p>\n\u003cp>I look forward to reading Jill Ciment’s \u003cem>Consent \u003c/em>and to the discussions it’s sure to provoke. In this follow-up memoir to \u003cem>Half a Life,\u003c/em> Ciment reconsiders what she wrote 25 years ago about her teenage affair and marriage to her art teacher, 30 years her senior. \u003cem>Half a Life \u003c/em>was written before the #MeToo movement, and before her husband died at the age of 93 after 45 years of marriage. \u003cem>Consent \u003c/em>promises a fuller picture. (June 11) — \u003cem>Heller McAlpin\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/godmother_custom-ff8270a1d4a20fda0c303d080ef095532b512f9d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Publisher Union Square & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Do What Godmother Says’ by L.S. Stratton\u003c/strong>\u003c/p>\n\u003cp>As we continue to experience the frenzy of Harlem Renaissance celebrations, commemorations and historical resonance, \u003cem>Do What Godmother Says\u003c/em> by L.S. Stratton is the perfect addition to the litany of works set in this artistic period this year. It examines the intense and frequently degenerating relationship between patrons and artists during this intellectual and cultural movement. In this dual-timeline gothic thriller, a modern writer discovers a family heirloom painting by a Harlem Renaissance artist, which connects her family to a mysterious past. This historical novel is one I’m eager to read because it deftly exposes the layers of creative ownership, especially when race and wealth are involved. (June 11) — \u003cem>Keishel Williams\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horrormovie_custom-585da57f9b35c75005e2591f96db69eb8900038d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Horror Movie: A Novel’ by Paul Tremblay\u003c/strong>\u003c/p>\n\u003cp>Paul Tremblay is one of the most entertaining and innovative voices in contemporary fiction regardless of genre. \u003cem>Horror Movie\u003c/em>, a story about a cursed movie that never came out and is about to get a remake, is a love letter to horror novels and horror movies, as well as a tense narrative that will redefine the cursed film subgenre. Tremblay is one of the modern masters of horror, and this new novel promises to be packed with the author’s distinctive voice, knack for ambiguity and intrigue, and superb atmosphere. (June 11) —\u003cem> Gabino Iglesias\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/cuethesun_custom-d017b905e1f57c346bd155e2b1e00b7e8a5018b3.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cue The Sun! The Invention of Reality TV’ by Emily Nussbaum\u003c/strong>\u003c/p>\n\u003cp>Every so often there’s a nonfiction title I covet like it’s the next installment in my favorite mystery series. This summer it’s \u003cem>Cue the Sun! \u003c/em>Based on in-depth interviews with more than 300 sources from every aspect of the production process, this book is a cultural history of the genre that ate American entertainment, from \u003cem>New Yorker\u003c/em> critic Emily Nussbaum. It combines the appeal of a page-turning thriller and the heft of serious scholarship. Juicy and thoughtful, it’s a must-read for anyone interested in television or popular culture. (June 25) — \u003cem>Carole V. Bell\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>July\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/undermining_custom-0ab0ee15894c33905bc361a0c1dd2073df28cf79.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Orbit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Undermining of Twyla and Frank’ by Megan Bannen\u003c/strong>\u003c/p>\n\u003cp>In this return to the delightfully wacky world established in one of my personal top-five romance novels of all time, \u003cem>The\u003c/em> \u003cem>Undertaking of Hart and Mercy\u003c/em>, Megan Bannen takes on the friends to lovers trope with a combination of madcap \u003cem>joie de vivre\u003c/em> and the exhausted practicality of a mom who’s had enough. Also, there are dragons! (July 2) \u003cem>— Caitlyn Paxson\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/anthropologists_custom-fafa91131dbe50c4d7e17dad7a6d5e8262282d1f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Anthropologists’ by Ayşegül Savaş\u003c/strong>\u003c/p>\n\u003cp>I am eagerly awaiting Ayşegül Savaş’ \u003cem>The Anthropologists\u003c/em>. Born in Istanbul, Savaş has lived in England, Denmark and the U.S. also and now resides in France; in this novel she takes up themes of cultural migration through focus on a young couple seeking an apartment in a foreign city. I’m intrigued to discover how Savaş gifts her characters with an anthropological lens of exploration. (July 9) — \u003cem>Barbara J. King \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/elevator_custom-dcdd9705bb7ed0ee4d0cd6c1044b7affb5f454c9.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (New Directions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Elevator in Saigon by Thuân’ translated by Nguyen An Lý\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Elevator in Saigon\u003c/em> is a literal and structural \u003cem>exquisite corpse\u003c/em>, capturing Vietnam’s eventful period from 1954 to 2004. Mimicking an elevator’s movement, the novel heightens our yearning for romance and mystery, while unflinchingly exposing such narrative shaft. Channeling Marguerite Duras and Patrick Modiano, the book also offers a dead-on tour of a society cunningly leaping from one ideological mode to the next. As if challenging Rick’s parting words to Ilsa in \u003cem>Casablanca\u003c/em>, Thuận’s sophomore novel in English implies that geopolitical debacles might have been mitigated if personal relations were held in more elevated regard than “a hill of beans.” (July 9) —\u003cem> Thúy Đinh\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/goodnighttokyo_custom-5e0f418add83234a499f5adf8225cb5a1671c022.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Europa Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Goodnight Tokyo’ by Atsuhiro Yoshida, translated by Haydn Trowell\u003c/strong>\u003c/p>\n\u003cp>Atsuhiro Yoshida’s \u003cem>Goodnight Tokyo\u003c/em> begins with a film company procurer who’s tasked with finding fresh kumquats for a production. From there, interlinked tales of Tokyo residents unspool in unpredictable directions. Characters range from a cabdriver to a star of a detective TV series who might be an actual detective. Readers will be reminded of Jim Jarmusch’s 1991 movie \u003cem>Night on Earth\u003c/em>, which also takes place in the wee hours of the morning and threads together the stories of strangers. (July 9) — \u003cem>Leland Cheuk \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/navola_custom-9ffec1a70800c395d9dfba994a9592218ea4b9ca.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navola: A Novel’ by Paolo Bacigalupi\u003c/strong>\u003c/p>\n\u003cp>I love when a beloved author — especially one known mostly for a certain type of book — throws us a daring curveball. \u003cem>Navola\u003c/em> is exactly such a pitch. Paolo Bacigalupi, who has won pretty much every major award in the science-fiction field with his climate-conscious dystopianism, is veering hard left with his new novel. It doesn’t take place in the future, and it isn’t a cautionary tale. Instead, it’s a hefty tome of high fantasy set in a dreamed-up world akin to Renaissance Florence. Only with, you guessed it, dragons. But also high finance, political intrigue, and de’ Medici-esque opulence. Bacigalupi is one of today’s most gripping spinners of speculative fiction, and I can’t wait to dive into this surprising magical foray. (July 9) \u003cem>— Jason Heller \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/luckyones_custom-d83a34ee0f3f90aaf4c10d5cf111eea0a9af1313.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Lucky Ones: A Memoir’ by Zara Chowdhary\u003c/strong>\u003c/p>\n\u003cp>In 2002, two train carriages were set on fire in Gujarat, India. Within three weeks, more than 2,000 Muslims were murdered in response by Hindu mobs. By the end of the year, more than 50,000 Muslims became refugees in their own country. \u003cem>The Lucky Ones \u003c/em>is a unique memoir in English of this largest-ever \u003ca href=\"http://www.cnn.com/2011/WORLD/asiapcf/03/01/india.arson.case/index.html\">massacre in independent India\u003c/a>. It is also about a communal crisis bringing a fractured family together. A must-read in our warring world today. (July 16) — \u003cem>Jenny Bhatt\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/16/sharks_custom-b9e1d9ca19799e9b94e3376fd8cb3928daa3b31d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sharks Don’t Sink: Adventures of a Rogue Shark Scientist’ by Jasmin Graham\u003c/strong>\u003c/p>\n\u003cp>Author Jasmin Graham is a marine biologist specializing in smalltooth sawfish and hammerhead sharks. Who are the real sharks in this story? Graham had to face the sharp-teethed truths of academia, while creating a world of curiosity and discovery around the complex lives of sharks. To combat the racism she encountered in academia, Graham created an “ocean of her own” to become an independent scientist and a champion of social justice, a journey she unspools in this new memoir. (July 16) —\u003cem> Martha Ann Toll\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/liars1_custom-61788f1e8cc522d62ed49db9f9f6f48b020cd8bd.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Liars’ by Sarah Manguso\u003c/strong>\u003c/p>\n\u003cp>I have long been a fan of Sarah Manguso’s crystalline prose, from her fragmented illness memoir\u003cem> The Two Kinds of Decay \u003c/em>to her tightly constrained 2022 novel \u003cem>Very Cold People\u003c/em>. Her second novel\u003cem>,\u003c/em> \u003cem>Liars\u003c/em>, marries restraint with rage — in it, Manguso traces the full arc of a 15-year relationship between Jane, a successful writer, and John, a dilettante artist-cum-techie, in aphoristic vignettes. The result is a furious, propulsive meditation on wifehood, motherhood and artistic ambition. (July 23) —\u003cem> Kristen Martin \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horse_custom-03be9b1d7e9c48e6deeff68af65f228511ae27be.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Horse: A Novel’ by Willy Vlautin\u003c/strong>\u003c/p>\n\u003cp>Musician and \u003cem>Lean on Pete\u003c/em> author Willy Vlautin captures the American West like few other writers. His prose is always excellent, his characters always beautifully drawn, and that promises to be the case with his next novel, about an isolated Nevada man in his 60s who is visited by a blind horse that refuses to leave. (July 30) — \u003cem>Michael Schaub\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>August\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/einstein_custom-e50a08faa4e05056ec6279194d5b40d0db8a1b74.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein\u003c/strong>\u003c/p>\n\u003cp>Art and science collide in Ken Krimstein’s new graphic biography\u003cem>.\u003c/em> In this book, the author of the brilliant and whimsical \u003cem>The Three Escapes of Hannah Arendt \u003c/em>similarly translates careful research into scenic, emotive comics — in this case tracking the potential effects of an adventitious meeting in Prague between two geniuses on the cusp of world-changing discoveries. (Aug. 20) —\u003cem> Tahneer Oksman \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/survivalisapromise_custom-256957d8e07e0104d0900cb0fc8b729fbf4ae29f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Survival Is a Promise: The Eternal Life of Audre Lorde’ by Alexis Pauline Gumbs\u003c/strong>\u003c/p>\n\u003cp>I’d probably be interested in a new biography of Audre Lorde if it focused on the eating habits of the brilliant thinker, poet, feminist and activist. But biographer Alexis Pauline Gumbs promises to more than exceed that bar. An award-winning poet, writer, feminist and activist in her own right, Gumbs is among the first researchers to delve into Lorde’s manuscript archives. The resulting book highlights the late author’s commitment to interrogating what it means to survive on this planet — and how Lorde’s radical understanding of ecology can guide us today. (Aug. 20)\u003cem> — Ericka Taylor \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/etcetera_custom-bea1fc18ec2ef90d7c5e32a84f79290c07f0168e.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Andrews McMeel Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Et Cetera: An Illustrated Guide to Latin Phrases’ by Maia Lee-Chin, illustrated by Marta Bertello\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To those claiming Latin is dead, I say \u003cem>res ipsa loquitur — \u003c/em>the thing speaks for itself — in \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Ey_LPYFFvl0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVUQUDkPow%24\">children’s cartoons\u003c/a>, \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Y4Q_DCgbEz0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV4VxiN2Q%24\">Hollywood cartoons\u003c/a> and \u003ca href=\"https://urldefense.com/v3/__https:/classics.mit.edu/Virgil/aeneid.html__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV5MbcrQA%24\">enduring epics\u003c/a>. As a fan of both Mr. Peabody and the Muses, the idea of combining Maia Lee-Chin’s thoughtful scholarship and Marta Bertello’s dynamic artistry is captivating. Their new book reimagines the world of Latin’s invention and tops my summer reading list. (Aug. 27) — \u003cem>Marcela Davison Avilés\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"NPR asked book critics what titles they’re most coveting this summer. Their picks cover a plethora of topics and tastes.","status":"publish","parent":0,"modified":1716402856,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":44,"wordCount":2176},"headData":{"title":"Best Reads for Summer 2024, as Chosen By NPR Critics | KQED","description":"NPR asked book critics what titles they’re most coveting this summer. Their picks cover a plethora of topics and tastes.","ogTitle":"20 New Books Hitting Shelves This Summer That NPR Critics Can’t Wait to Read","ogDescription":"","ogImgId":"","twTitle":"20 New Books Hitting Shelves This Summer That NPR Critics Can’t Wait to Read","twDescription":"","twImgId":"","socialTitle":"Best Reads for Summer 2024, as Chosen By NPR Critics %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"20 New Books Hitting Shelves This Summer That NPR Critics Can’t Wait to Read","datePublished":"2024-05-22T10:56:09-07:00","dateModified":"2024-05-22T11:34:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Meghan Collins Sullivan, NPR","nprStoryId":"1251024211","nprHtmlLink":"https://www.npr.org/2024/05/21/1251024211/best-books-2024-what-to-read","nprRetrievedStory":"1","nprPubDate":"2024-05-21T08:17:39-04:00","nprStoryDate":"2024-05-21T08:17:39-04:00","nprLastModifiedDate":"2024-05-21T10:12:29-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958311/best-new-books-summer-2024-npr-critics-picks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957998","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>June is around the corner, meaning summer is almost here! As we look forward to travel and staycations, plane rides and trips to the beach, we’ve asked our book critics for some advice: What upcoming fiction and nonfiction are they most looking forward to reading?\u003c/p>\n\u003cp>Their picks range from memoirs to sci-fi and fantasy to translations, love stories and everything in between. Here’s a look:\u003c/p>\n\u003chr>\n\u003ch3>June\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/daughter_custom-b786e59ae645b23b705710ab415dc3a27f150a5f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Redhook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Daughter of the Merciful Deep’ by Leslye Penelope\u003c/strong>\u003c/p>\n\u003cp>I was hooked when I first saw the gorgeous cover for \u003cem>Daughter of the Merciful Deep\u003c/em> by Leslye Penelope. But the novel’s premise put it at the top of my summer reading list. Penelope is known for unforgettable characters, world-building, beautiful writing and robust storytelling. Her latest work, inspired by actual events — the drowned Black towns of the American South — promises a magical, mythical and powerful tale of a young woman’s quest to save her town. A historical fantasy must-read. (June 4) — \u003cem>Denny Bryce\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/futurewascolor_custom-8cf072dcb45a69feb8bf38d30adb3a03422fce58.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Counterpoint LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Future Was Color’ by Patrick Nathan\u003c/strong>\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>\u003cem>The Future Was Color\u003c/em> by Patrick Nathan has everything I look for in a book: a unique and startling voice, a queer protagonist and a deep understanding of a particular time and place. George — once György — is a gay Hungarian immigrant working as a screenwriter in McCarthy-era Hollywood, occasionally fantasizing about his officemate, Jack. When a once-famous actress named Madeline invites George to stay and write at her spacious Malibu house, she won’t take no for an answer — and so George finds himself in a hedonistic milieu where pleasure, politics and strong personalities intermingle. (June 4) — \u003cem>Ilana Masad\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/mirrored_custom-278fb8c0571ce760702cf2f0b0e763480f39862b.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (S&S/Saga Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Mirrored Heavens: Between Earth & Sky, Book 3’ by Rebecca Roanhorse\u003c/strong>\u003c/p>\n\u003cp>Rebecca Roanhorse is one of my auto-read authors — and one major reason is because of her fire \u003cem>Between Earth and Sky\u003c/em> series. That trilogy comes to a stunning, fevered conclusion with \u003cem>Mirrored Heavens\u003c/em>. All of the characters you love, hate and love to hate will converge on the city of Tova. Get ready for an epic battle between ancient gods, their human avatars and the mortals caught in between. (June 4) \u003cem>— Alex Brown\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/singlikefish_custom-08ec44af144d163477bad03e23664864c096488f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sing Like Fish: How Sound Rules Life Under Water’ by Amorina Kingdon\u003c/strong>\u003c/p>\n\u003cp>You may know about \u003ca href=\"https://www.theguardian.com/environment/2021/jul/13/loneliest-whale-in-the-world-search\">52 Blue\u003c/a>, whose vocalizations likely go unheard by some other whales; it captured worldwide sympathy and became a pop-culture metaphor. But did you know \u003cem>all\u003c/em> \u003ca href=\"https://www.bbc.com/news/science-environment-68358414\">whale song is critically disrupted by ships\u003c/a>? If that gets you wondering, keep an eye out for \u003cem>Sing Like Fish\u003c/em>, which promises to illuminate the fragile symphony of the deep. (June 4) —\u003cem> Genevieve Valentine\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/consent_custom-08d1ad496975300988db3f69077a2990ae9a4073.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Consent: A Memoir’ by Jill Ciment\u003c/strong>\u003c/p>\n\u003cp>I look forward to reading Jill Ciment’s \u003cem>Consent \u003c/em>and to the discussions it’s sure to provoke. In this follow-up memoir to \u003cem>Half a Life,\u003c/em> Ciment reconsiders what she wrote 25 years ago about her teenage affair and marriage to her art teacher, 30 years her senior. \u003cem>Half a Life \u003c/em>was written before the #MeToo movement, and before her husband died at the age of 93 after 45 years of marriage. \u003cem>Consent \u003c/em>promises a fuller picture. (June 11) — \u003cem>Heller McAlpin\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/godmother_custom-ff8270a1d4a20fda0c303d080ef095532b512f9d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Publisher Union Square & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Do What Godmother Says’ by L.S. Stratton\u003c/strong>\u003c/p>\n\u003cp>As we continue to experience the frenzy of Harlem Renaissance celebrations, commemorations and historical resonance, \u003cem>Do What Godmother Says\u003c/em> by L.S. Stratton is the perfect addition to the litany of works set in this artistic period this year. It examines the intense and frequently degenerating relationship between patrons and artists during this intellectual and cultural movement. In this dual-timeline gothic thriller, a modern writer discovers a family heirloom painting by a Harlem Renaissance artist, which connects her family to a mysterious past. This historical novel is one I’m eager to read because it deftly exposes the layers of creative ownership, especially when race and wealth are involved. (June 11) — \u003cem>Keishel Williams\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horrormovie_custom-585da57f9b35c75005e2591f96db69eb8900038d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Horror Movie: A Novel’ by Paul Tremblay\u003c/strong>\u003c/p>\n\u003cp>Paul Tremblay is one of the most entertaining and innovative voices in contemporary fiction regardless of genre. \u003cem>Horror Movie\u003c/em>, a story about a cursed movie that never came out and is about to get a remake, is a love letter to horror novels and horror movies, as well as a tense narrative that will redefine the cursed film subgenre. Tremblay is one of the modern masters of horror, and this new novel promises to be packed with the author’s distinctive voice, knack for ambiguity and intrigue, and superb atmosphere. (June 11) —\u003cem> Gabino Iglesias\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/cuethesun_custom-d017b905e1f57c346bd155e2b1e00b7e8a5018b3.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cue The Sun! The Invention of Reality TV’ by Emily Nussbaum\u003c/strong>\u003c/p>\n\u003cp>Every so often there’s a nonfiction title I covet like it’s the next installment in my favorite mystery series. This summer it’s \u003cem>Cue the Sun! \u003c/em>Based on in-depth interviews with more than 300 sources from every aspect of the production process, this book is a cultural history of the genre that ate American entertainment, from \u003cem>New Yorker\u003c/em> critic Emily Nussbaum. It combines the appeal of a page-turning thriller and the heft of serious scholarship. Juicy and thoughtful, it’s a must-read for anyone interested in television or popular culture. (June 25) — \u003cem>Carole V. Bell\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>July\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/undermining_custom-0ab0ee15894c33905bc361a0c1dd2073df28cf79.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Orbit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Undermining of Twyla and Frank’ by Megan Bannen\u003c/strong>\u003c/p>\n\u003cp>In this return to the delightfully wacky world established in one of my personal top-five romance novels of all time, \u003cem>The\u003c/em> \u003cem>Undertaking of Hart and Mercy\u003c/em>, Megan Bannen takes on the friends to lovers trope with a combination of madcap \u003cem>joie de vivre\u003c/em> and the exhausted practicality of a mom who’s had enough. Also, there are dragons! (July 2) \u003cem>— Caitlyn Paxson\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/anthropologists_custom-fafa91131dbe50c4d7e17dad7a6d5e8262282d1f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Anthropologists’ by Ayşegül Savaş\u003c/strong>\u003c/p>\n\u003cp>I am eagerly awaiting Ayşegül Savaş’ \u003cem>The Anthropologists\u003c/em>. Born in Istanbul, Savaş has lived in England, Denmark and the U.S. also and now resides in France; in this novel she takes up themes of cultural migration through focus on a young couple seeking an apartment in a foreign city. I’m intrigued to discover how Savaş gifts her characters with an anthropological lens of exploration. (July 9) — \u003cem>Barbara J. King \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/elevator_custom-dcdd9705bb7ed0ee4d0cd6c1044b7affb5f454c9.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (New Directions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Elevator in Saigon by Thuân’ translated by Nguyen An Lý\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Elevator in Saigon\u003c/em> is a literal and structural \u003cem>exquisite corpse\u003c/em>, capturing Vietnam’s eventful period from 1954 to 2004. Mimicking an elevator’s movement, the novel heightens our yearning for romance and mystery, while unflinchingly exposing such narrative shaft. Channeling Marguerite Duras and Patrick Modiano, the book also offers a dead-on tour of a society cunningly leaping from one ideological mode to the next. As if challenging Rick’s parting words to Ilsa in \u003cem>Casablanca\u003c/em>, Thuận’s sophomore novel in English implies that geopolitical debacles might have been mitigated if personal relations were held in more elevated regard than “a hill of beans.” (July 9) —\u003cem> Thúy Đinh\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/goodnighttokyo_custom-5e0f418add83234a499f5adf8225cb5a1671c022.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Europa Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Goodnight Tokyo’ by Atsuhiro Yoshida, translated by Haydn Trowell\u003c/strong>\u003c/p>\n\u003cp>Atsuhiro Yoshida’s \u003cem>Goodnight Tokyo\u003c/em> begins with a film company procurer who’s tasked with finding fresh kumquats for a production. From there, interlinked tales of Tokyo residents unspool in unpredictable directions. Characters range from a cabdriver to a star of a detective TV series who might be an actual detective. Readers will be reminded of Jim Jarmusch’s 1991 movie \u003cem>Night on Earth\u003c/em>, which also takes place in the wee hours of the morning and threads together the stories of strangers. (July 9) — \u003cem>Leland Cheuk \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/navola_custom-9ffec1a70800c395d9dfba994a9592218ea4b9ca.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navola: A Novel’ by Paolo Bacigalupi\u003c/strong>\u003c/p>\n\u003cp>I love when a beloved author — especially one known mostly for a certain type of book — throws us a daring curveball. \u003cem>Navola\u003c/em> is exactly such a pitch. Paolo Bacigalupi, who has won pretty much every major award in the science-fiction field with his climate-conscious dystopianism, is veering hard left with his new novel. It doesn’t take place in the future, and it isn’t a cautionary tale. Instead, it’s a hefty tome of high fantasy set in a dreamed-up world akin to Renaissance Florence. Only with, you guessed it, dragons. But also high finance, political intrigue, and de’ Medici-esque opulence. Bacigalupi is one of today’s most gripping spinners of speculative fiction, and I can’t wait to dive into this surprising magical foray. (July 9) \u003cem>— Jason Heller \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/luckyones_custom-d83a34ee0f3f90aaf4c10d5cf111eea0a9af1313.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Lucky Ones: A Memoir’ by Zara Chowdhary\u003c/strong>\u003c/p>\n\u003cp>In 2002, two train carriages were set on fire in Gujarat, India. Within three weeks, more than 2,000 Muslims were murdered in response by Hindu mobs. By the end of the year, more than 50,000 Muslims became refugees in their own country. \u003cem>The Lucky Ones \u003c/em>is a unique memoir in English of this largest-ever \u003ca href=\"http://www.cnn.com/2011/WORLD/asiapcf/03/01/india.arson.case/index.html\">massacre in independent India\u003c/a>. It is also about a communal crisis bringing a fractured family together. A must-read in our warring world today. (July 16) — \u003cem>Jenny Bhatt\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/16/sharks_custom-b9e1d9ca19799e9b94e3376fd8cb3928daa3b31d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sharks Don’t Sink: Adventures of a Rogue Shark Scientist’ by Jasmin Graham\u003c/strong>\u003c/p>\n\u003cp>Author Jasmin Graham is a marine biologist specializing in smalltooth sawfish and hammerhead sharks. Who are the real sharks in this story? Graham had to face the sharp-teethed truths of academia, while creating a world of curiosity and discovery around the complex lives of sharks. To combat the racism she encountered in academia, Graham created an “ocean of her own” to become an independent scientist and a champion of social justice, a journey she unspools in this new memoir. (July 16) —\u003cem> Martha Ann Toll\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/liars1_custom-61788f1e8cc522d62ed49db9f9f6f48b020cd8bd.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Liars’ by Sarah Manguso\u003c/strong>\u003c/p>\n\u003cp>I have long been a fan of Sarah Manguso’s crystalline prose, from her fragmented illness memoir\u003cem> The Two Kinds of Decay \u003c/em>to her tightly constrained 2022 novel \u003cem>Very Cold People\u003c/em>. Her second novel\u003cem>,\u003c/em> \u003cem>Liars\u003c/em>, marries restraint with rage — in it, Manguso traces the full arc of a 15-year relationship between Jane, a successful writer, and John, a dilettante artist-cum-techie, in aphoristic vignettes. The result is a furious, propulsive meditation on wifehood, motherhood and artistic ambition. (July 23) —\u003cem> Kristen Martin \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horse_custom-03be9b1d7e9c48e6deeff68af65f228511ae27be.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Horse: A Novel’ by Willy Vlautin\u003c/strong>\u003c/p>\n\u003cp>Musician and \u003cem>Lean on Pete\u003c/em> author Willy Vlautin captures the American West like few other writers. His prose is always excellent, his characters always beautifully drawn, and that promises to be the case with his next novel, about an isolated Nevada man in his 60s who is visited by a blind horse that refuses to leave. (July 30) — \u003cem>Michael Schaub\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>August\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/einstein_custom-e50a08faa4e05056ec6279194d5b40d0db8a1b74.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein\u003c/strong>\u003c/p>\n\u003cp>Art and science collide in Ken Krimstein’s new graphic biography\u003cem>.\u003c/em> In this book, the author of the brilliant and whimsical \u003cem>The Three Escapes of Hannah Arendt \u003c/em>similarly translates careful research into scenic, emotive comics — in this case tracking the potential effects of an adventitious meeting in Prague between two geniuses on the cusp of world-changing discoveries. (Aug. 20) —\u003cem> Tahneer Oksman \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/survivalisapromise_custom-256957d8e07e0104d0900cb0fc8b729fbf4ae29f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Survival Is a Promise: The Eternal Life of Audre Lorde’ by Alexis Pauline Gumbs\u003c/strong>\u003c/p>\n\u003cp>I’d probably be interested in a new biography of Audre Lorde if it focused on the eating habits of the brilliant thinker, poet, feminist and activist. But biographer Alexis Pauline Gumbs promises to more than exceed that bar. An award-winning poet, writer, feminist and activist in her own right, Gumbs is among the first researchers to delve into Lorde’s manuscript archives. The resulting book highlights the late author’s commitment to interrogating what it means to survive on this planet — and how Lorde’s radical understanding of ecology can guide us today. (Aug. 20)\u003cem> — Ericka Taylor \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/etcetera_custom-bea1fc18ec2ef90d7c5e32a84f79290c07f0168e.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Andrews McMeel Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Et Cetera: An Illustrated Guide to Latin Phrases’ by Maia Lee-Chin, illustrated by Marta Bertello\u003c/strong>\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>To those claiming Latin is dead, I say \u003cem>res ipsa loquitur — \u003c/em>the thing speaks for itself — in \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Ey_LPYFFvl0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVUQUDkPow%24\">children’s cartoons\u003c/a>, \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Y4Q_DCgbEz0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV4VxiN2Q%24\">Hollywood cartoons\u003c/a> and \u003ca href=\"https://urldefense.com/v3/__https:/classics.mit.edu/Virgil/aeneid.html__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV5MbcrQA%24\">enduring epics\u003c/a>. As a fan of both Mr. Peabody and the Muses, the idea of combining Maia Lee-Chin’s thoughtful scholarship and Marta Bertello’s dynamic artistry is captivating. Their new book reimagines the world of Latin’s invention and tops my summer reading list. (Aug. 27) — \u003cem>Marcela Davison Avilés\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958311/best-new-books-summer-2024-npr-critics-picks","authors":["byline_arts_13958311"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_75"],"tags":["arts_5221","arts_21679","arts_769","arts_22140","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13958312","label":"arts_140"},"arts_13958503":{"type":"posts","id":"arts_13958503","meta":{"index":"posts_1716263798","site":"arts","id":"13958503","found":true},"guestAuthors":[],"slug":"atlas-review-jennifer-lopez-ai-movie-brad-peyton-brown","title":"This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’","publishDate":1716572267,"format":"standard","headTitle":"This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Let’s all be clear, if we weren’t already, that when it comes to Jennifer Lopez, it’s about the love story. Always the love story.\u003c/p>\n\u003cp>J.Lo the pop star, singing about rekindled love on her latest album, \u003cem>This is Me … Now\u003c/em>. J.Lo the rom-com regular, making movies about seeking love (including the extremely autobiographical film of the same name.) J.Lo the real-life celebrity goddess, in countless headlines about … what else?\u003c/p>\n\u003cp>[aside postid='arts_13957540']Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jokpt_LJpbw\u003c/p>\n\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>[aside postid='arts_13958145']Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A data analyst travels to a strange planet populated solely by evil AI bots, in Jennifer Lopez’s (very cheesy) latest.","status":"publish","parent":0,"modified":1716572267,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":885},"headData":{"title":"‘Atlas’ Movie Review: Jennifer Lopez Serves Cheese in Space | KQED","description":"A data analyst travels to a strange planet populated solely by evil AI bots, in Jennifer Lopez’s (very cheesy) latest.","ogTitle":"This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’","ogDescription":"","ogImgId":"","twTitle":"This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’","twDescription":"","twImgId":"","socialTitle":"‘Atlas’ Movie Review: Jennifer Lopez Serves Cheese in Space %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’","datePublished":"2024-05-24T10:37:47-07:00","dateModified":"2024-05-24T10:37:47-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","nprStoryId":"kqed-13958503","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958503/atlas-review-jennifer-lopez-ai-movie-brad-peyton-brown","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s all be clear, if we weren’t already, that when it comes to Jennifer Lopez, it’s about the love story. Always the love story.\u003c/p>\n\u003cp>J.Lo the pop star, singing about rekindled love on her latest album, \u003cem>This is Me … Now\u003c/em>. J.Lo the rom-com regular, making movies about seeking love (including the extremely autobiographical film of the same name.) J.Lo the real-life celebrity goddess, in countless headlines about … what else?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957540","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\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>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\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/Jokpt_LJpbw'\n title='//www.youtube.com/embed/Jokpt_LJpbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957803","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958145","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958503/atlas-review-jennifer-lopez-ai-movie-brad-peyton-brown","authors":["byline_arts_13958503"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21948","arts_769","arts_585"],"featImg":"arts_13958504","label":"arts_140"},"arts_13958404":{"type":"posts","id":"arts_13958404","meta":{"index":"posts_1716263798","site":"arts","id":"13958404","found":true},"guestAuthors":[],"slug":"bay-area-student-fashion-shows-2024","title":"10 Collections that Stunned at Bay Area Student Fashion Shows","publishDate":1716504724,"format":"aside","headTitle":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco fashion students dropped dozens of to-die-for looks.","status":"publish","parent":0,"modified":1716505414,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":977},"headData":{"title":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","description":"San Francisco fashion students dropped dozens of to-die-for looks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Collections that Stunned at Bay Area Student Fashion Shows","datePublished":"2024-05-23T15:52:04-07:00","dateModified":"2024-05-23T16:03:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958404","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958404/bay-area-student-fashion-shows-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\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>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958404/bay-area-student-fashion-shows-2024","authors":["11872"],"categories":["arts_1","arts_76"],"tags":["arts_5850","arts_1696","arts_15240","arts_9510"],"featImg":"arts_13958461","label":"arts"},"arts_128526":{"type":"posts","id":"arts_128526","meta":{"index":"posts_1716263798","site":"arts","id":"128526","found":true},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1344690019,"format":"standard","title":"11 Steps to Getting a Tattoo You Won't Regret for the Rest of Your Life","headTitle":"11 Steps to Getting a Tattoo You Won’t Regret for the Rest of Your Life | KQED","content":"\u003cp>Tattoos last forever, or at least as long as your body lasts, which is pretty much forever in human terms. For a lot of people (your boss and your grandpa), this is the main reason not to get them. For other people (you), this is what makes them so great. Your pets and your parents will die, your house will get bulldozed to build a superhighway, your friends will move to New York City. But your tattoos? Barring a full-body burning accident, they will be with you through the whole scary, sublime thing, until you are sitting in your easy chair, unable to pee without the help of an in-home care assistant. Until finally, you lose consciousness and stop existing. How comforting to know that a) your memories will be written on your body no matter how badly your brain disintegrates and b) your in-home care assistant will have something pretty to look at while he’s pulling down your pants for you.\u003c/p>\n\u003cp>I have 6 tattoos and I know an amazing tattooer, so I consider myself enough of an expert to educate you on the process of getting art permanently inscribed on your skin. To fully commit to this project, I decided to go get a tattoo and, while it was happening, interview \u003ca href=\"http://derickmontez.tumblr.com/\">Derick Montez\u003c/a>, who works at \u003ca href=\"http://sftattoo.com/\">Picture Machine Tattoo\u003c/a>. He’s the guy who has given me 3 of my tattoos and who is, in my opinion, the best tattoo artist of all time ever. Derek isn’t even 30 yet but he apprenticed with well-known graffiti and tattoo artist \u003ca href=\"http://www.mikegiant.com/index.php\">Mike Giant\u003c/a> and is a great visual artist in a bunch of different mediums, beyond being a respected tattooer. So, without further ado, your step-by-step guide to getting a tattoo you won’t regret for the rest of your life:\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/inspection2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128527\" alt=\"inspection2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/inspection2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Before your tattoo:\u003c/i>\u003c/p>\n\u003cp>\u003cb>1. Research! This is THE MOST IMPORTANT OF ALL THE STEPS.\u003c/b>\u003c/p>\n\u003cp>Getting a good tattoo requires some actual preparation. According to Derick: “The biggest mistake I think someone can make is not doing research on the artist that they get tattooed by. Tattooing has become such a popularized trend… more people are tattooing now, more than ever, but just because someone gets the idea in their head that they want to be a tattooer doesn’t mean that they have the proper training or the proper techniques. It’s just like anything else: if you have the money, you can open up a shop, but that doesn’t mean you know what you’re doing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So look at portfolios online. Derick says: “Most reputable shops have portfolios — what you’re looking for is consistency in work… you want to make sure the photos are clear, recognizable, readable, because a lot of times people just put up garbage photos… tattoos that are still wrapped in plastic. If you can find healed photos of peoples’ tattoo work, that is a lot better.”\u003c/p>\n\u003cp>I know he’s right because this is exactly how my ex-boyfriend found Derick: obsessive internet searching to find the perfect tattoo artist for his first tattoo. I do not have this kind of patience and my first 3 tattoos are a testament to that (I still love them, but they are nothing compared to Derick’s work), so I am very grateful that someone finally did the research for me. But you shouldn’t be so lazy! Do the research yourself! You won’t regret it!\u003c/p>\n\u003cp>\u003cb>2. Don’t price shop.\u003c/b>\u003c/p>\n\u003cp>Would you look on Craigslist for the cheapest babysitter? Maybe, this isn’t a parenting lesson, but the point is, if some guy says he’ll give you a tattoo for 40 bucks, walk away. Instead, be ready to pay as much as it takes to get high quality work. Pick cheaper shoes or buy your rice in bulk if you want to save money, but when it comes to art that will be on your body until you die, don’t expect to pay less than $100 before tip, and a lot more if you are getting something large or adding color.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-shop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128529 alignleft\" alt=\"the-shop\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-shop.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>3. Check out the shop in person.\u003c/b>\u003c/p>\n\u003cp>When you find someone you think you like, go into the shop and meet the artist in real life before you actually get anything done. First, the shop should be clean. Check for work on display and see how you feel about the aesthetic in person. Then, go with your gut. My first tattoo, which I got when I was about 20, was the result of something halfway between a whim and a manic compulsion, when I decided I needed a tattoo and jumped on the bus that went to the part of Portland rife with tattoo parlors. The first one I went into was clean enough, but something about it gave me the heebie jeebies and I got back on the bus and got off at a smaller, friendlier place, where I ended up getting a tiny star below my left hip.\u003c/p>\n\u003cp>Derick put it this way: “Generally, if people are going to take the time to answer your questions and not be a dick, they have confidence in their work… you should never really feel pressured to get tattooed right then and there.”\u003c/p>\n\u003cp>(Side note: You can always start small and come back for something bigger when you are ready. Three years after I got that star, the same artist gave me the outline of Oregon with a heart in it. Sometimes slowly building up to a bigger piece is a good idea.)\u003c/p>\n\u003cp>If you do your research and find a really great tattooer, you are 90 percent of the way to getting an awesome tattoo. The rest of these things will become a lot easier, because a good, professional tattooer will be looking out for you — they want your tattoo to look awesome since it represents them. Remember though, this is your body and ultimately you make the decisions. So for better or worse, the end result is your responsibility.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/derickswork.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128530\" alt=\"derickswork\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/derickswork.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>4. Spend some time thinking about the design.\u003c/b>\u003c/p>\n\u003cp>Obviously, this goes without saying but I am going to say it anyway: don’t get something you really will regret. Disney princesses, \u003ca href=\"http://www.adl.org/hate_symbols/tattoo_aryan_brotherhood_clover.asp\">an Aryan Brotherhood clover\u003c/a> or anything else that might get you killed in prison, misspelled Chinese idioms, your on-again, off-again boyfriend’s name. These things ruin lives. Pick something with personal meaning or something you think is beautiful. Go in ahead of time to talk to your tattoo artist about the design. My last 3 tattoos started as just ideas and I pretty much gave Derick free reign to do what he wanted, since he knows a lot more about tattoos and making beautiful things than I do. I am very happy with the results.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-creation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-128531\" alt=\"the-creation\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-creation.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Day of the tattoo:\u003c/i>\u003c/p>\n\u003cp>\u003cb>5. Don’t be drunk.\u003c/b>\u003c/p>\n\u003cp>I’m not going to explain this to you. You know better. Also, a good tattoo artist will not tattoo you if you are drunk.\u003c/p>\n\u003cp>\u003cb>6. Eat something before you go.\u003c/b>\u003c/p>\n\u003cp>No one wants you to pass out. Eat dinner! Bring along some candy to chew on if you are getting something big done.\u003c/p>\n\u003cp>\u003cb>7. Don’t come in with a posse.\u003c/b>\u003c/p>\n\u003cp>Derick: “I think a mistake a lot of people can make is coming into a tattoo shop with a whole plethora of friends. I’ve watched people come in, know what they want, and through the opinion of 4 or 5 other people end up getting something completely different or going against the advice of the tattoo artist.”\u003c/p>\n\u003cp>Derick has a lot of great tattoos and he says: “Whenever I’ve gotten my tattoos, I’ve done it all by myself… just so I know that whatever I’m getting is all on me.”\u003c/p>\n\u003cp>Bring a friend if you are nervous or if you just want the company. But don’t bring a pack. You did your research, remember? This is between you and the person putting it on your body. It doesn’t really matter that your friend with no tattoos thinks it would look better in orange on your left kneecap.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drawing2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-128532\" alt=\"drawing2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drawing2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>8. Make sure it is really what you want.\u003c/b>\u003c/p>\n\u003cp>The tattoo artist will put a transfer of the tattoo on your body in the place you want it before he actually starts in with the needle and ink (in this case Derick actually drew on me, but usually it starts with a transfer). Make sure you like the size and the placement. This is not the time to be passive. Listen to the tattooer (not your friends) but remember: your body, your choice.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/pain2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128533\" alt=\"pain2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/pain2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>9. Accept that this will hurt.\u003c/b>\u003c/p>\n\u003cp>Yes, it will hurt. It is needles poking your skin deeply and quickly. But if it didn’t hurt, would it mean as much? Plus, now instead of being the person asking their tatted-up friend, “Oh man, did that hurt?” you will be the person answering, “Yeah, it wasn’t so bad.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drock2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-128534\" alt=\"drock2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drock2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>After the tattoo is done:\u003c/i>\u003c/p>\n\u003cp>\u003cb>10. Tip!\u003c/b>\u003c/p>\n\u003cp>You did your research and you got an awesome tattoo! So tip! At least 20 percent and always in cash. Let me repeat that: always in cash. So make sure you have enough BEFORE YOU GET TO THE TATTOO PARLOR.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/post2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128535\" alt=\"post2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/post2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>11. Follow the care instructions.\u003c/b>\u003c/p>\n\u003cp>Derick: “People should really treat their tattoo like they got a flesh wound.”\u003c/p>\n\u003cp>Me: Because they did. \u003ca href=\"http://www.sharptattoos.com/aftercare.html\">So wash it with unscented soap, don’t touch it or pick at it, use the recommended lotion, don’t soak in any water.\u003c/a>\u003c/p>\n\u003cp>True story: I played a soccer game right after I got my Oregon tattoo. Due to the stretching caused by running around and sweating, when the tattoo healed, the border of the state and the heart in the middle had dots of bare skin. I had to wait 6 months and get the whole thing redone. Not only did it hurt about 50 times worse than the original tattoo, now it is raised like a scar while the rest of my tattoos seem flush with my skin.\u003c/p>\n\u003cp>So, what more can I tell you? If you do your research and pick a tattooer whose aesthetic you like and who gives you a good feeling in your stomach and you get a tattoo that won’t force you to join a white supremacist gang in prison, and then you take care of it, you will end up with a piece of art on your body that no one can ever take away. Good luck!\u003c/p>\n\u003cp>P.S.: Do you have a tattoo artist you love or any tattoo tips at all? Write about it in the comments! Share the wealth!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos by Emmanuel Hapsis.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1849,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":48},"modified":1705050563,"excerpt":"Tattoos last forever. For a lot of people (your boss and your grandpa), this is the main reason not to get them. For other people (you), this is what makes them so great.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Tattoos last forever. For a lot of people (your boss and your grandpa), this is the main reason not to get them. For other people (you), this is what makes them so great.","title":"11 Steps to Getting a Tattoo You Won't Regret for the Rest of Your Life | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"11 Steps to Getting a Tattoo You Won't Regret for the Rest of Your Life","datePublished":"2012-08-11T06:00:19-07:00","dateModified":"2024-01-12T01:09:23-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","author":{"@type":"Person","name":"Lizzy Acker","jobTitle":"Journalist","url":"https://www.kqed.org/author/lacker"}},"authorsData":[{"type":"authors","id":"55","meta":{"index":"authors_1716337520","id":"55","found":true},"name":"Lizzy Acker","firstName":"Lizzy","lastName":"Acker","slug":"lacker","email":"eacker@kqed.org","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Lizzy Acker is a fiction writer whose first book, \u003cb>Monster Party\u003c/b>, was released in December 2010 by Small Desk Press. Her work has been published in \u003ci>Nano Fiction\u003c/i>, \u003ci>We Who Are About To Die\u003c/i> and \u003ci>Tramp Quarterly\u003c/i>, among others. She was the co-creator/curator of the San Francisco reading series Funny/Sexy/Sad. She blogs regularly at lizzyacker.com.Lizzy is from Oregon, but now lives in San Francisco where she recently received her MFA from San Francisco State University. Currently, she writes status updates and processes member donations for KQED and is a contributing blogger to KQED Arts.","avatar":"https://secure.gravatar.com/avatar/8ea0d686abaede31d5a094259db6a34f?s=600&d=blank&r=g","twitter":"lizzyacker","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]}],"headData":{"title":"Lizzy Acker | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/8ea0d686abaede31d5a094259db6a34f?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/8ea0d686abaede31d5a094259db6a34f?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/lacker"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2012/08/tattoo640.jpg","width":640,"height":360},"ogImageWidth":"640","ogImageHeight":"360","twitterImageUrl":"https://ww2.kqed.org/app/uploads/sites/2/2012/08/tattoo640.jpg","twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2012/08/tattoo640.jpg","width":640,"height":360},"twitterCard":"summary_large_image"},"tagData":{"tags":[]}},"guestAuthors":[],"slug":"11-steps-to-getting-a-tattoo-you-wont-regret-for-the-rest-of-your-life","status":"publish","sticky":false,"path":"/arts/128526/11-steps-to-getting-a-tattoo-you-wont-regret-for-the-rest-of-your-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tattoos last forever, or at least as long as your body lasts, which is pretty much forever in human terms. For a lot of people (your boss and your grandpa), this is the main reason not to get them. For other people (you), this is what makes them so great. Your pets and your parents will die, your house will get bulldozed to build a superhighway, your friends will move to New York City. But your tattoos? Barring a full-body burning accident, they will be with you through the whole scary, sublime thing, until you are sitting in your easy chair, unable to pee without the help of an in-home care assistant. Until finally, you lose consciousness and stop existing. How comforting to know that a) your memories will be written on your body no matter how badly your brain disintegrates and b) your in-home care assistant will have something pretty to look at while he’s pulling down your pants for you.\u003c/p>\n\u003cp>I have 6 tattoos and I know an amazing tattooer, so I consider myself enough of an expert to educate you on the process of getting art permanently inscribed on your skin. To fully commit to this project, I decided to go get a tattoo and, while it was happening, interview \u003ca href=\"http://derickmontez.tumblr.com/\">Derick Montez\u003c/a>, who works at \u003ca href=\"http://sftattoo.com/\">Picture Machine Tattoo\u003c/a>. He’s the guy who has given me 3 of my tattoos and who is, in my opinion, the best tattoo artist of all time ever. Derek isn’t even 30 yet but he apprenticed with well-known graffiti and tattoo artist \u003ca href=\"http://www.mikegiant.com/index.php\">Mike Giant\u003c/a> and is a great visual artist in a bunch of different mediums, beyond being a respected tattooer. So, without further ado, your step-by-step guide to getting a tattoo you won’t regret for the rest of your life:\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/inspection2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128527\" alt=\"inspection2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/inspection2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/inspection2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Before your tattoo:\u003c/i>\u003c/p>\n\u003cp>\u003cb>1. Research! This is THE MOST IMPORTANT OF ALL THE STEPS.\u003c/b>\u003c/p>\n\u003cp>Getting a good tattoo requires some actual preparation. According to Derick: “The biggest mistake I think someone can make is not doing research on the artist that they get tattooed by. Tattooing has become such a popularized trend… more people are tattooing now, more than ever, but just because someone gets the idea in their head that they want to be a tattooer doesn’t mean that they have the proper training or the proper techniques. It’s just like anything else: if you have the money, you can open up a shop, but that doesn’t mean you know what you’re doing.”\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>So look at portfolios online. Derick says: “Most reputable shops have portfolios — what you’re looking for is consistency in work… you want to make sure the photos are clear, recognizable, readable, because a lot of times people just put up garbage photos… tattoos that are still wrapped in plastic. If you can find healed photos of peoples’ tattoo work, that is a lot better.”\u003c/p>\n\u003cp>I know he’s right because this is exactly how my ex-boyfriend found Derick: obsessive internet searching to find the perfect tattoo artist for his first tattoo. I do not have this kind of patience and my first 3 tattoos are a testament to that (I still love them, but they are nothing compared to Derick’s work), so I am very grateful that someone finally did the research for me. But you shouldn’t be so lazy! Do the research yourself! You won’t regret it!\u003c/p>\n\u003cp>\u003cb>2. Don’t price shop.\u003c/b>\u003c/p>\n\u003cp>Would you look on Craigslist for the cheapest babysitter? Maybe, this isn’t a parenting lesson, but the point is, if some guy says he’ll give you a tattoo for 40 bucks, walk away. Instead, be ready to pay as much as it takes to get high quality work. Pick cheaper shoes or buy your rice in bulk if you want to save money, but when it comes to art that will be on your body until you die, don’t expect to pay less than $100 before tip, and a lot more if you are getting something large or adding color.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-shop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128529 alignleft\" alt=\"the-shop\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-shop.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-shop-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>3. Check out the shop in person.\u003c/b>\u003c/p>\n\u003cp>When you find someone you think you like, go into the shop and meet the artist in real life before you actually get anything done. First, the shop should be clean. Check for work on display and see how you feel about the aesthetic in person. Then, go with your gut. My first tattoo, which I got when I was about 20, was the result of something halfway between a whim and a manic compulsion, when I decided I needed a tattoo and jumped on the bus that went to the part of Portland rife with tattoo parlors. The first one I went into was clean enough, but something about it gave me the heebie jeebies and I got back on the bus and got off at a smaller, friendlier place, where I ended up getting a tiny star below my left hip.\u003c/p>\n\u003cp>Derick put it this way: “Generally, if people are going to take the time to answer your questions and not be a dick, they have confidence in their work… you should never really feel pressured to get tattooed right then and there.”\u003c/p>\n\u003cp>(Side note: You can always start small and come back for something bigger when you are ready. Three years after I got that star, the same artist gave me the outline of Oregon with a heart in it. Sometimes slowly building up to a bigger piece is a good idea.)\u003c/p>\n\u003cp>If you do your research and find a really great tattooer, you are 90 percent of the way to getting an awesome tattoo. The rest of these things will become a lot easier, because a good, professional tattooer will be looking out for you — they want your tattoo to look awesome since it represents them. Remember though, this is your body and ultimately you make the decisions. So for better or worse, the end result is your responsibility.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/derickswork.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128530\" alt=\"derickswork\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/derickswork.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/derickswork-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>4. Spend some time thinking about the design.\u003c/b>\u003c/p>\n\u003cp>Obviously, this goes without saying but I am going to say it anyway: don’t get something you really will regret. Disney princesses, \u003ca href=\"http://www.adl.org/hate_symbols/tattoo_aryan_brotherhood_clover.asp\">an Aryan Brotherhood clover\u003c/a> or anything else that might get you killed in prison, misspelled Chinese idioms, your on-again, off-again boyfriend’s name. These things ruin lives. Pick something with personal meaning or something you think is beautiful. Go in ahead of time to talk to your tattoo artist about the design. My last 3 tattoos started as just ideas and I pretty much gave Derick free reign to do what he wanted, since he knows a lot more about tattoos and making beautiful things than I do. I am very happy with the results.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-creation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-128531\" alt=\"the-creation\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/the-creation.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/the-creation-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Day of the tattoo:\u003c/i>\u003c/p>\n\u003cp>\u003cb>5. Don’t be drunk.\u003c/b>\u003c/p>\n\u003cp>I’m not going to explain this to you. You know better. Also, a good tattoo artist will not tattoo you if you are drunk.\u003c/p>\n\u003cp>\u003cb>6. Eat something before you go.\u003c/b>\u003c/p>\n\u003cp>No one wants you to pass out. Eat dinner! Bring along some candy to chew on if you are getting something big done.\u003c/p>\n\u003cp>\u003cb>7. Don’t come in with a posse.\u003c/b>\u003c/p>\n\u003cp>Derick: “I think a mistake a lot of people can make is coming into a tattoo shop with a whole plethora of friends. I’ve watched people come in, know what they want, and through the opinion of 4 or 5 other people end up getting something completely different or going against the advice of the tattoo artist.”\u003c/p>\n\u003cp>Derick has a lot of great tattoos and he says: “Whenever I’ve gotten my tattoos, I’ve done it all by myself… just so I know that whatever I’m getting is all on me.”\u003c/p>\n\u003cp>Bring a friend if you are nervous or if you just want the company. But don’t bring a pack. You did your research, remember? This is between you and the person putting it on your body. It doesn’t really matter that your friend with no tattoos thinks it would look better in orange on your left kneecap.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drawing2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-128532\" alt=\"drawing2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drawing2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drawing2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>8. Make sure it is really what you want.\u003c/b>\u003c/p>\n\u003cp>The tattoo artist will put a transfer of the tattoo on your body in the place you want it before he actually starts in with the needle and ink (in this case Derick actually drew on me, but usually it starts with a transfer). Make sure you like the size and the placement. This is not the time to be passive. Listen to the tattooer (not your friends) but remember: your body, your choice.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/pain2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128533\" alt=\"pain2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/pain2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/pain2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>9. Accept that this will hurt.\u003c/b>\u003c/p>\n\u003cp>Yes, it will hurt. It is needles poking your skin deeply and quickly. But if it didn’t hurt, would it mean as much? Plus, now instead of being the person asking their tatted-up friend, “Oh man, did that hurt?” you will be the person answering, “Yeah, it wasn’t so bad.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drock2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-128534\" alt=\"drock2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/drock2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/drock2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>After the tattoo is done:\u003c/i>\u003c/p>\n\u003cp>\u003cb>10. Tip!\u003c/b>\u003c/p>\n\u003cp>You did your research and you got an awesome tattoo! So tip! At least 20 percent and always in cash. Let me repeat that: always in cash. So make sure you have enough BEFORE YOU GET TO THE TATTOO PARLOR.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/post2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-128535\" alt=\"post2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/post2.jpg\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/post2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>11. Follow the care instructions.\u003c/b>\u003c/p>\n\u003cp>Derick: “People should really treat their tattoo like they got a flesh wound.”\u003c/p>\n\u003cp>Me: Because they did. \u003ca href=\"http://www.sharptattoos.com/aftercare.html\">So wash it with unscented soap, don’t touch it or pick at it, use the recommended lotion, don’t soak in any water.\u003c/a>\u003c/p>\n\u003cp>True story: I played a soccer game right after I got my Oregon tattoo. Due to the stretching caused by running around and sweating, when the tattoo healed, the border of the state and the heart in the middle had dots of bare skin. I had to wait 6 months and get the whole thing redone. Not only did it hurt about 50 times worse than the original tattoo, now it is raised like a scar while the rest of my tattoos seem flush with my skin.\u003c/p>\n\u003cp>So, what more can I tell you? If you do your research and pick a tattooer whose aesthetic you like and who gives you a good feeling in your stomach and you get a tattoo that won’t force you to join a white supremacist gang in prison, and then you take care of it, you will end up with a piece of art on your body that no one can ever take away. Good luck!\u003c/p>\n\u003cp>P.S.: Do you have a tattoo artist you love or any tattoo tips at all? Write about it in the comments! Share the wealth!\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>All photos by Emmanuel Hapsis.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/128526/11-steps-to-getting-a-tattoo-you-wont-regret-for-the-rest-of-your-life","authors":["55"],"categories":["arts_75"],"featImg":"arts_129032","label":"arts","isLoading":false,"hasAllInfo":true}},"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. 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